Your Best Friend - Your Best Friend

Your Best Friend
Your Best Friend
(Unsigned)

There are very few bands that can sell over 1000 copies of a self-titled self-released album within the first three months of its release, but Your Best Friend just happens to be one of those bands. With a sound that is both traditionally and progressively rock, YBF will keep you on your toes. Their music is a refreshing new twist on what others have been trying to accomplish for quite some time. The difference being that their aggression and straightforward manner isn't muddled with unnecessary effects or strained vocals. YBF are John Bonham [(guitar, keyboard, vocals) -- no, not that John Bonham], Dale Brown (bass, vocals), Steve Sochanek (guitar, vocals), and Nick Edler (drums, vocals). Their arrangements are controlled, their vocals have a great exchange in style, and lyrics are straightforward, hiding nothing. Their sound is organic and their influences can be heard throughout the album.

“Dear Heavenly Father” explores a conversation between the narrator and his father. An older entity tries to show the error of the ways of his creation with a powerful back and forth of recklessness and concern ("Just think and be open, I am only trying to help, Your 'dying' habits will lead you to your death"). “Keeping Company” is a slow walk home, a reflection of a loss, and a need to make a pain felt visible if only to one’s self. “Near Perfect Wrists” is a song of redemption, trying to overcome self-loathing to become the person you know you’re meant to be, rejecting those things that held meaning, and people who hold their hand out to you ("I won’t lie, I won’t say I’ve tried, And still you stand strong by my side").

“You’ll Never Feel Anything Again” is a reminder that that which haunts you is of your own creation. “The Path of an Illogical Liar”, the most uptempo song on the album, is a struggle of trust and faith in yourself and others. “White and Red” tells of the burden of having guilt as close as your shadow. “Close Your Eyes and Drive Away” finds the narrator losing himself in moments of loneliness ("You hide from what you can’t ignore, What happens when you When you’re alone"). “Decimals” finds its narrator placing blame on the one who tried to be there ("When your eyes are closed I wipe them dry, And I place your tears on mine as if I cared, It’s a trick to trick you into thinking, That you’re the one to blame, And I think it’s working"). “I’m Afraid of Myself and Everything I haven’t Done” is about leaving everything behind in search of a greater purpose and the fears of actually getting what you say you want. "Aboriri" is about the regret of having to end something before it’s begun and begging for forgiveness from someone you didn’t have the chance to love.

YBF are currently unsigned, "but [are] seeking a solid, hard working label that will embrace and support the standards of music and presentation that Your Best Friend feels its friends and fans deserve" according to the band. — Naimah Holmes

MySpace | Official Site

Wednesday 13 - Skeletons

Wednesday 13
Skeletons

The closeted skeletons referred to on Wednesday 13's latest album are more likely to come wielding spandex pants and Aqua-Net than butcher knives and chainsaws. Although this isn't the first out of the closet experience for these skeletons, as Wednesday has publicly admitted to his fandom of Tuff, Shotgun Messiah, and Spread Eagle, it's certainly the first time these influences have been so audible. Skeletons is more or less what White Zombie would've sounded like, if only they'd started their career opening for Stryper at Gazzari's.

After former bands Maniac Spider Trash, Frankenstein Drag Queens From Planet 13, and Murderdolls failed to gain any substantial commercial success in the U.S. and several solo albums of beyond-catchy ditties about walking with zombies and Christmastime burials made little noise, it seemed as though everyone in the business of music had given up on the sleazy Horrorpunk of Wednesday 13. Everyone, that is, except for Hot Topic; the bastion of black eyeliner-ed consumerism that provides the pink-haired, chain-wallet masses with System of a Down T-shirts, The Nightmare Before Christmas lunchboxes, and Halo 3 action figures. Hot Topic is the sole distributor of Wednesday's newest album.

For those who enjoy indulging in a little classical arena rock from time to time, it may be worth braving the trek into the haze of heart-a-grams and faux corsets for the purchase of Skeletons. The only reason "Not Another Teenage Anthem" isn't just that is because it will never be heard by enough teens; "My Demise," could be the lead-in track to Monster Ballads Vol. 3, if only it weren't about animal mutilation; and "From Here To The Hearse" sounds like a B-side from Alice Cooper's Trash era. While most of Skeletons proves to be a blood-and-gutsy take on Hair Metal, the album's highlights ("Gimmie Gimmie Bloodshed" and "No Rabbit in the Hat") are those that were clearly inspired by drummer Racci Shay's time in Dope.

As long as Butch Walker doesn't put out an embarrassingly enjoyable collection of ballads about suicidal teens, Skeletons will surely be the guilty pleasure of the year. Sadly, with such poor distribution, most will never hear these tales of grave robbery, the edibility of human flesh, and "skull soup for grandpa."

With any kind of radio play, Wednesday 13's latest album could surely have the girls of Rock of Love dripping in zombie makeup, but most likely it will just inspire a few Mall Goths to put on fringe leather jackets.— Izzy Cihak

MySpace | Official Site

The Sort - Resentment, Despair, & Other Amusements

The Sort
Resentment, Despair, & Other Amusements
(Black Bag Records)

While "Mean Nouns" is most likely the hippest song title of 2008, The Sort are probably not going to find themselves on the pages of Vice Magazine, sharing bills with Girl Talk, or partaking in any other cliché sponsored by American Apparel. Instead, the sound of the Richmond-based five-piece's debut album, Resentment, Despair, & Other Amusements, hearkens back to the mid-90s, a time when girl-fronted bands were allowed to kick ass, a time when something had to be more than ironic to be cool, and a time when teen angst was shouted, not pouted.

Had The Sort come along about 13 years sooner front-woman Lauralam Thomas would've found herself alongside Kay Hanley and Juliana Hatfield as a princess of Power Pop. With a voice that ranges from playfully innocent to sassily sensual and a knack for endearingly simplistic bubblegum coated sentiment ("Imperfect perfection when he looks in my direction," "It’s not enough to feel the world in art," or "I saw special things beaten to the ground."); she's all any adolescent girl could hope to grow up to be.

The majority of (and most impressive portion of) Resentment, Despair, & Other Amusements has the band sounding like theSTART after having their synths jacked, while tracks like "Remnants" and "Valedictorian" would've fit perfectly on the Empire Records soundtrack. The only downfall of The Sort's debut is that it is occasionally bogged down with generic radio rock riffage that has them sounding like a band that Maynard James Keenan would be in.

In a time when there doesn't seem to be room for anything resembling conventional rock songwriting and musicianship, it's hard to say what's in store for The Sort, short of crossing their fingers for Veruca Salt's next album to go platinum and need a support band for the tour. If only it were 1995 The Sort would be dominating MTV's Alternative Nation and teenage girls across the country would have "He gives me his heart in hopes it won’t get ripped apart," scrawled onto the covers of their Social Studies textbooks.— Izzy Cihak

MySpace

Phantom Planet - Raise The Dead

Phantom Planet
Raise The Dead
(Fueled By Ramen)

Ten years and a handful of albums later, Phantom Planet, is making a strong comeback. But did they ever leave? Not really. Their new album, Raise the Dead, is definitely resurrecting old Phantom Planet fans. Raise the Dead is far from the Phantom Planet I remember listening to as a teenager. It’s more rock and less clean cut, with heavier guitars and bass lines and more howling from lead singer Alex Greenwald.

Phantom Planet’s The Guest, was good for a different reason. It is a lot slower and ‘cleaner,’ and by cleaner I mean everything kind of fit a little bubblegum pop formula within this facade of a rock band. Phantom Planet broke all the rules on this new one. I was reluctant to give Raise The Dead a good listen but the album’s first saving grace was “Demon Daughters”, which is as far away from Phantom Planet’s old sound as you can get and features one sweet bass line. There’s progression of energy which builds throughout the song, leaving the audience feeling fulfilled after its completion. Everything that comes after it is as equally amazing. There’s a lot of variety in this album and the songs all fit together nicely without sounding the same. Raise the Dead features some quick paced, toe-tapping, get up and dance songs such as “Dropped” to slower, more mature The Guest-like songs such as “Quarantine.” Standouts also include “Geronimo”, “Do the Panic” and “Leave Yourself for Somebody Else.”— Mai Huynh

ON TOUR w/ Panic @ the Disco, Motion City Soundtrack & The Hush Sound

May 23 2008 - Congress Theatre - Chicago, IL
May 24 2008 - Congress Theatre - Chicago, IL
May 25 2008 - Eagles Ballroom - Milwaukee, WI
May 27 2008 - Myth - Minneapolis, MN
May 28 2008 - Val Air Ballroom - Des Moines, IA
May 30 2008 - The Pageant - St. Louis, MO
May 31 2008 - Westfair Amphitheatre - Omaha, NE
Jun 1 2008 - Uptown Theatre - Kansas City, MO
Jun 3 2008 - Fillmore Auditorium - Denver, CO
Jun 4 2008 - Salt Air Theatre - Salt Lake City, UT
Jun 6 2008 - PNE Forum - Vancouver, BC
Jun 7 2008 - Paramount Theatre - Seattle, WA
Jun 8 2008 - Portland Exposition Center - Portland, OR
Jun 10 2008 - Grand Sierra Resort - Reno, NV
Jun 13 2008 - The Pearl - Las Vegas, NV
Jun 14 2008 - Honda Center - Anaheim, CA

MySpace

Does It Offend You, Yeah? - You Have No Idea...

Does It Offend You, Yeah?
You Have No Idea What You're Getting Yourself Into
(Virgin)

So here's the scenario: I'm walking around Virgin Records tripping over stuff and being entirely too loud for my age. Low and behold, I turn to the majestic wall of germ infected headphones and volume knobs that never work, and find Does It Offend You, Yeah's debut full length release, You Have No Idea What You’re Getting Into. I grab the headphones, plop them on my ears, and begin skimming through the album. I didn't have much time to lollygag so the CD was purchased and given a thorough listen later on.

With the obtainment of this album, I've come to the conclusion that if Daft Punk, Muse, Justice and PlayRadioPlay had a baby at a rave, it would come out sounding exactly like DIOYY! Weird analogy I know, but let me explain. I swear it makes sense.

It's pretty obvious the guys were channeling a lot Daft Punk and Justice throughout the album, but I still feel it earns its marks for an original attempt. It may not be the most innovative sounding album I've acquired recently, but it definitely has its highlights. For instance, the closing song for the record, "Epic Last Song," is a lovely mixture of percussion, synth use, and clever vocals. Compared to the rest of the album, it's a work of genius; up against any other artist of their kind, it's just a good song. In all, the album is a decent collection of tunes merged with various highlights. Worth a listen? Sure, why not! Worth our “over-priced America” value? Not so much. — Kim Johnson

MySpace | Official Site

Kiros - A Single Strand

Kiros
A Single Strand

Ticket-less and pretty much stranded, a friend and I strolled around a gas station near the Verizon Wireless Amphitheater in Irvine, CA where day one of the second annual Bamboozle Left festival would be held. Much to the comparison of some indie movie involving 2 adventurous teens, my friend and I unknowingly stumbled upon a van withholding sleeping bandmates from the Canadian rock quartet, Kiros.

After having a pretty enlightening conversation with frontman/bassist Barry MacKichan, we parted ways only to meet up several times again during the festival. Here, my friend and I got to meet more of the band and take a listen to a bit of their newest album, A Single Strand, which I evidently couldn’t resist because I ended up buying a copy and am listening to it NON STOP!

A Single Strand is an eclectic mix of catchy pop rock tunes supplying the perfect dose of memorable choruses with compassionate ballads. One thing I have to fully respect about this record is the ease of which it transitions from genre to genre. Taking a song from punk to a piano ballad isn’t easy, but Kiros are definitely pros at the art. I also appreciate the underlying message throughout the album: displaying hope and faith through struggles. Some personal favorites off the record are “Alone Tonight”, “Speak Softly”, “Dear Michigan”, “Lying Sure Beats Shaving Your Legs”, and the all so epic tear-jerkers, “This May Not Cause Pain” and “The Reprise”. — Kim Johnson

For Fans Of: Armor For Sleep, Boys Night Out and Taking Back Sunday

MySpace

Dear And The Headlights - Small Steps, Heavy Hooves

Dear And The Headlights
Small Steps, Heavy Hooves
There's something so fresh and alluring about Dear And The Headlights. You notice it the first time you listen to Small Steps, Heavy Hooves. The warmth of Ian Metzger's voice accompanied by the melodies from both guitars and bass, and the pulsing of the drums. Every song could be the soundtrack to your life, weaving in and out of memories as if you were flipping through an old photo album. Topics like holding onto years gone by ("Skinned Knees" and "Gapped Teeth"), looking back at times you might want to forget ("Oh No!") but knowing that those situations, times, and places made you who you are today, loss ("I'm Bored You're Amorous"), the realization of falling in love ("I Just Do"), self doubt and self destruction ("Run In the Front") have all their bases covered and then some on Small Steps, Heavy Hooves. From the emotion in the vocals to the almost heart breaking arrangements of each instrument and the delicate tone of the piano, Dear And The Headlights are all there. ~ Naimah Holmes

On Tour w/ Paramore & Jimmy Eat World
Apr 25 2008 - Gordon Field House - Rochester, New York
Apr 26 2008 - AU Bender Arena - Washington DC
Apr 28 2008 - Washington Ave Armory - Albany, New York
Apr 30 2008 - Paul E Tsongas Arena - Lowell, Massachusetts
May 2 2008 - Trump Taj Mahal - Atlantic City, New Jersey
May 3 2008 - Bamboozle - East Rutheford, New Jersey

Official Site | MySpace

New York Dolls - Live At The Fillmore East

New York Dolls
Live At The Fillmore East
(SonyBMG)
reviewed by Izzy Cihak

Recent, and not exactly scientific, evidence has proven that punk's authenticity can be proven not with a specific number of safety pins in one's shirt, but when one has at least three times as many live releases as studio albums. Following in the footsteps of The Stooges and MC5, the New York Dolls have just released their eleventh live album, Live at the Fillmore East. While there seems to be no substantial reason for this release (other than possibly to show off new members Sami Yaffa and Brian Delaney) it's hard to turn away from a collection of songs about trashy loverboys and Rock'n'Roll nurses.

With ten tracks, clocking in at just over forty-five minutes, Live at the Fillmore East is disappointingly incomprehensive, not to mention the fact that the ordering of the songs is confusingly random in relation to their actual performances. Highlighting the set are "Rainbow Store" and "Dance Like a Monkey," off of One Day It Will Please Us to Remember Even This, possibly the least laughable "comeback" album of all-time, mainly because they're the only songs that are being recorded live for the first time. More than half of the tracks on Live at the Fillmore East are culled from the band's first album, all of which seem to be making their eight or ninth appearance on a live release. While it would've been nice to include some rarities like "Down, Down Downtown" or "Teenage News," classics like "Puss 'N' Boots" and "Babylon" sound just as elegantly sleazy as they did more than thirty years ago.

The production quality of Live at the Fillmore East is deliciously raw, making for a much edgier sound than 2004's Live from Royal Festival Hall 2004. When considering the actual purpose of this release, the only likely answer one will come to is that with so many bands reviving the decadent and riotous glam of the Dolls, the band wanted to make sure that the music world knows that even in 2008 no one does uptown-class-meets-downtown-trash like New York City's original jet boys.

MySpace | Official Site

Counting Crows - Saturday Nights & Sunday Mornings

When I was a little girl I remember waking up to the sounds of August and Everything After by the Counting Crows blasting through the house stereo on Sunday morning as my father would cook up a massive brunch and the smells of bacon, eggs, and bagels consumed the house. It’s such a pleasant memory to relive and every time I hear that record I think about those weekends. Needless to say, over the years, I have become a huge Counting Crows fan following them from one record to the next.

Sure, This Desert Life and Hard Candy were a little quirky, but there was still something to be said about each. Then, last week, Saturday Nights & Sunday Mornings was released (the Counting Crows 5th studio album). The concept for which came about from a song that didn’t make the final cut on their 2nd album, Recovering The Satellites. The song being “1492” and, as stated by Adam Duritz, lead singer, at an iTunes live appearance in Los Angeles this week, the band felt this song [1492] needed to be expressed and became their inspiration for the creation of what is now Saturday Nights & Sunday Mornings.

If I had started this article before seeing the Counting Crows live this week, I would’ve told you about how much the new record reminds me of the Recovering The Satellites era and gives kudos to August & Everything After. Then I would’ve gone on to explain how perfectly written track 3, “Los Angeles,” is. Co-written by Adam Duritz & Ryan Adams (and producer Dave Gibbs), I can’t think of a more perfect songwriter combination. In fact, now I want to hear a Duritz/Adams project! But as Adam Duritz said himself, he’s not one of those guys who likes to just jump on stage with anybody. After giving props to those points, I probably would’ve listed my disappointments in this album. However, I don’t have any disappointments now.

On Thursday, April 3rd, I got the chance to see the Counting Crows perform at The Grove in Los Angeles for free. They played for close to 2 hours, stopping between songs to answer questions from the audience. Having never seen the band I’ve admired for so long live before was a huge treat and just as I suspected, their songs translate in a whole new level live. Since most of the performance was based around the new record, I got to hear songs I wasn’t particularly fond of recorded (i.e., “Hanging Tree” and “Insignificant”) and discovered the beauty in each of those tracks.

Now, I’m not one to immediately like an album because I liked the last or because I’m just a huge fan of the band or because they are friends of mine, each and every album has a fair shot with me; and I have to say that the Counting Crow’s Saturday Nights & Sunday Mornings might be the closest album to perfection I’ve come across in this decade. Way to go! ~ Chelsea Schwartz

MySpace | Official Site

Fat City Reprise: The Return of the Virtuoso

Let’s get one thing straight: I don’t write music reviews. I’m a musician and writer, but I’ve always thought it a waste of time to comment on what anyone else was doing. But then along came this band, Fat City Reprise, who from out of nowhere (otherwise known as Philadelphia) blazed into Los Angeles and took us all by storm. And I had to sit up and shout, “Someone get me my laptop!” I have to tell the world that these guys are that good.

Just when you thought virtuoso rock has been MIA since the 80s, here come the Fantastic Philly Four who are poised to wrestle the mainstream music scene back from kiddie pop and I-got-shot-in-da-club digital thumping. In fact, their sound is so unique, I’m having trouble classifying it. I’m tempted to say “Hard rock meets Honky Tonk” but that doesn’t really do it. There are traces of funk and Fats Domino and Led
Zeppelin, but it’s re-imagined for the 21st century. You can dance your ass off to it, or just stand with your jaw on the floor as these guys turn their instruments into putty. Even those of us with serious rods up our patooties (like yours truly, when sober) can’t help but tap some body part along with the beat. And anyone with a trained ear will appreciate Fat City’s intensely rhythmic and original songwriting – not to mention the virtuosity of the performers.

Shredding on guitar like we haven’t seen since – oh, Slash? – is Nick Anastasi. Both his strong, rhythmic strumming and intensely creative solos threaten to steal the show. But he’s a wise enough musician not to take that bait. And so, his equally strong rhythm section shines just as brightly. Case in point: Mike Vivas, who gives the term “walking bass” a whole new meaning. Not only are his energetic and ornate bass lines a delight, but that dude can strut!

Drummer Jay Miraglia looks so unassuming – dare I say shy? - you’d expect him to be more comfortable behind a calculator than a drum kit. But then, he lets it rip and even those dancing to his groove stop and take notice. Is that a drummer behind those cymbals or Lighting Man?

And last but not least, frontman and keyboardist Frankie Pedano rounds out the show with commanding piano riffs and clear, even vocals that compliment – without upstaging – the virtuosity of the accompaniment. Where so many rock singers are shrill, Frankie’s even vibrato and pureness of tone is a welcome relief. Intensely melodic lines are not really the Fat City style (rhythm being the more prominent factor), but
that’s OK. Frankie’s vocals seem best suited as really tasty icing on the cake.

And then there’s the “nice guy” factor. I was so blown away after the show, I had to give the band my profuse praise. Their response? “Well, our moms think we’re good.” Are you kidding me? “False modesty!”, I wanted to scream, but the thing is, I know it’s not. You can just feel it: these guys are actually cool. And while I still contend they must know how brilliant they are, the fact that they appreciate
compliments from lil ol' me spoke volumes about their future. I believe that only truly open minds push art to its limits. And I expect Fat City Reprise to be a major player in rock’s evolution.

My only gripe is that their CD doesn’t wholly capture the power they have in live performance. Those sick guitar solos aren’t nearly as pronounced, nor are the kickin’ arpeggios of Vivas’ bass. And the vocals seem slightly overpowered by the ensemble. But whatever. In my book, that’s a minor problem to have in the era of digital enhancement and over-correction. Isn’t it nice to know that these guys can really play? So seriously listen to me: Run, don’t even think about walking, to your local bar, pub, live music establishment to see Fat City Reprise before these guys are out-selling Hannah Montana, and those vultures known as scalpers are all over it. If you don’t, I’ll get to say, “I told you so.” - Kelly Maglia

FCR's Myspace

Kate Nash - Made Of Bricks

Kate Nash
Made of Bricks
(Geffen/Fiction)

With the changing of years comes a new brassy, underage, British songstress gracing MTV. Surprisingly, this time around the Date Show Network is actually pushing someone worth listening to. After cracking the top 40 in several European countries, Kate Nash's debut album, Made of Bricks, has finally made its way to the states. The album is a collection of delightfully told fables about things like a friendship with a skeleton and a girl who chose to glue her mouth shut.

On Made of Bricks Nash proves that she's more than adept in a variety of sounds. Certain tracks are suited for rainy day reminiscing, while others sound like a call to the dance floor. "Foundations" and "Merry Happy" have her rhyming and flowing in the vein of Lily Allen. "Birds" and "Nicest Thing" mirror the beautifully calm sadness of Lisa Loeb, and with the help of her fetching faux Cockney accent she manages to sound even more endearing than the E! Television reality star. Her charm even goes so far as to excuse grammatically painful phrases like, "Why you being a dickhead for?" The album's most impressive track, "We Get On" combines all of Nash's sounds and abilities. Beginning as a lush folk pop number, "We Get On" eventually breaks down into an adorably schizophrenic rant and back again without missing a beat. The only flaw found on Made of Bricks, is "Pumpkin Soup," which has a chorus that's slightly reminiscent of something Beyonce would sing in a Revlon commercial.

What keeps Kate Nash's storytelling so intriguing is that it's unapologetically self-centered. Made of Bricks contains no cheap epics about love and loss, but each song sounds like an uninhibited and wine-inspired diatribe that would take place at a girl's sleepover party. Yes, it's quite bratty and immature, but the passion and candidness with which she sings, coupled with her musical competency, makes for the most earnest and catchy songs written about young love in recent years.

Kate Nash is innocently sassy and cleverly juvenile. She's the most appealing flippant pop princess to come around since Liz Phair and the best thing to happen to music since the Bird and the Bee. Okay, so maybe your first contact with Kate Nash was on an MTV commercial, but Ian Curtis graced the cover of NME before his band's first full-length was even released. And do you really want to be the one to question the credibility of Joy Division? – Izzy Cihak

Official Site | Myspace