Category: Emo (Page 7 of 8)

Manchester Orchestra: Back With A Vengeance

April 29, 2009 /

Manchester Orchestra

April 21 marked the release of the second LP from Atlanta, Georgia rockers Manchester Orchestra. After four previous releases, Mean Everything to Nothing is a breath of fresh indie-rock air thanks much in part to producer Joe Chiccarelli (The Shins, The Raconteurs, My Morning Jacket).
In place of their usual brand of mellow indie-pop, Manchester Orchestra has compiled a cohesive collection of tunes that echo the likes of Nirvana and Weezer. There’s a new grunge twist on Nothing unlike any of the band’s previous releases. It’s the perfect addition to the Manchester Orchestra catalog, and has the potential to be the band’s most commercial success. The Boston Globe talked about the album’s strong points saying,

“[Mean Everything to Nothing] is like a sonic form of whiplash: lullaby-like intros progress into fist-pumping choruses, pensive piano arrangements are followed by gritty guitar riffs, and front man Andy Hull’s vocals shift from folksy Conor Oberst-like warbling on power ballads (“I Can Feel a Hot One”) to breathless emo-wailing on anthems like “I’ve Got Friends.”

There’s really nothing to criticize about Nothing. The substance is there, more so even than the majority of Top 40 releases dominating the radio. The growth that’s evident on Nothing successfully bridges the gap between Manchester Orchestra’s early years, and the bright future they are sure to have thanks to the transformation. Bottom line, Mean Everything to Nothing is what indie-rock should sound like today so have a listen. You can even preview tracks on Manchester Orchestra’s MySpace here.

Alternative, Artists, CD Reviews, Emo, Pop, Rock

Mama, I’m Swollen

March 14, 2009 /

Cursive

Emo-rockers, Cursive have returned to the scene with their sixth studio album, Mama, I’m Swollen.  After a three-year hiatus the band is back with a valiant attempt at progression, that unfortunately has failed to attract the kind of following we saw with The Ugly Organ or Happy Hollow.  Nonetheless, Mama, I’m Swollen is classic Cursive:  an intricate web of instruments and lyrics, all woven around the same angst-ridden, emo-tastic thread.

While some may argue that redundancy will be the proverbial straw that breaks this camel’s back, since when is more of a good thing bad?  It is true that Cursive takes the listener down the same paths on Mama that they did on previous records but in this case quality has not been compromised.  In fact, Amazon.com wrote, “On their sixth album, [Cursive] proves yet again why ‘after all these years’ they remain one of the most exciting and inventive rock bands today.”  All the pieces of a great rock album are there, they just need to be celebrated.  Pitchfork.com gave a review of the records strengths saying:

Musically, Cursive’s range is subtler here compared to their previous albums, but there are some satisfying occasions when everything pulls together nicely. Shifting time signatures keep the more straightforward songs from getting dull, and there are plenty of thoughtful guitar hooks interlaced with brass sections, strings, and an intermittent flute…it’s the occasional appearance of these additional instruments that sparks the most excitement while listening to this record. The final song, “What Have I Done”, a tale of a man holed up in an El Paso motel scratching lyrics on paper plates instead of writing a great novel, turns out to be the album’s most memorable track.  It impresses with its swell of electronic ambiance, growling bass, and triumphantly dejected chorus as Kasher keeps screaming “What have I done, what have I done, what have I done!” until he is out of breath.

The intensity and passion of Mama, I’m Swollen is what hooks the listener, and, whether a Cursive fan or not, it is also what keeps you coming back for more.  On DrownedInSound.com, James Skinner hits the nail on the head as he writes:

Mama, I’m Swollen manages to synthesize almost every strength of [Cursive] while tangibly pushing them ever forward.  An enviable awareness of space only hinted at in the past is present, lyrical concerns are ranging and articulate as ever, and the sonic dexterity exhibited is something to revel in. This album feels like a simultaneous departure and tacit acknowledgement of erstwhile achievements.

While hardcore fans may be torn when it comes to Mama, I’m Swollen Cursive’s latest attempt at immortality is a classic example of emotional lyrics and simple, yet embellished melodies.  It may sound like the Cursive you know and love but that’s only because it is the Cursive you know and love.  Give Mama, I’m Swollen a second listen.  At the very least, it’ll grow on you.

Alternative, Artists, CD Reviews, Emo, Rock

Rivers Cuomo: Alone II: The Home Recordings of Rivers Cuomo

January 9, 2009 /

Someone in a popular men’s print magazine recently said something horrible about the latest Weezer album, something to the effect of, “If Rivers Cuomo burned down a hospital, it wouldn’t be the worst thing he did in 2008.” As harsh as that may sound, that critic probably hadn’t heard Cuomo’s latest batch of home recordings, sharply titled Alone II: The Home Recordings of Rivers Cuomo. Cuomo is one of those songwriters that you might call prolific, and he’s been known to literally use computer formulas to create those songs. The problem is that whatever formulas he’s using are not very good, and if his “best” stuff is being released on the Weezer albums, why would anyone want to hear this schlock? Okay, it’s not all schlock – tracks like “I Was Scared” and “My Brain Is Working Overtime” sound like classic Weezer. But that’s two tracks out of 19. Everything else ranges from bad to downright painful, especially “Please Remember” and “Can’t Stop Partying,” on which Cuomo’s raw, pitchy vocals effectively marry nails and chalkboard. And he sounds like a whiny emo kid from 1999 on “My Day is Coming.” So before we all start hating Weezer, whether we were fans of the band before, let’s hope Mr. Cuomo goes on a long vacation, or does something else newsworthy so we can forget about these awful home recordings. He doesn’t have to burn down a hospital, but robbing a hot dog cart wouldn’t be a bad idea. (DGC Records/Interscope)

Rivers Cuomo MySpace Page

Alternative, CD QuickTakes, CD Reviews, Emo, Pop, Power Pop, Punk, Rock

Guggenheim Grotto: Happy the Man

November 28, 2008 /

Their odd, ill-defined moniker aside, Guggenheim Grotto are a deeply emotive trio, hailing from Ireland but obviously adept at capturing universal sentiments, particularly when it comes to matters of the heart. On this, their sophomore set, the group opts for gentle, dreamy melodies that reside midway between the arched anthems of Coldplay and the contemplative designs of the Beautiful South, capped by soaring refrains coupled with a distinct sense of wistful yearning. That’s especially true of “Her Beautiful Ideas,” perhaps the most torrid song about severed romance in recent memory, and “Sunshine Makes Me High,” which regales in sublime inspiration. Likewise, “Oh Nikita” glides on supple rhythms and a bittersweet plea, while “Just Not Just” provides a breezy lesson in unrequited love. Indeed, there’s a profound sense of desire that permeates the set as a whole, a hope for a passionate connection that remains just out of reach. “What has love in store for me,” they ask plaintively on the guardedly hopeful “Lost Forever And?,” a song that surmises the answer but reaches no definitive conclusion. Its title to the contrary, Happy the Man finds bliss an elusive ideal and optimism all the more difficult to cling to. (United for Opportunity)

Guggenheim Grotto MySpace page

CD QuickTakes, CD Reviews, Emo, Folk, Rock

Rebecca Pidgeon: Behind the Velvet Curtain

November 7, 2008 /

Rebecca Pidgeon’s first album in three years portrays more of her sensual, seductive style, one that reflects a Sunday morning sound and a somewhat overcast aura that dissipates only on occasion. Pidgeon, who’s also gained fame for her acting portfolio and the fact she’s married to playwright David Mamet, supplies the soundtrack for the film “Redbelt,” much of which extracted for Behind the Velvet Curtain, but any thematic thread is difficult to discern. In fact, the album is so uniformly low-key that any change in tempo or tone becomes practically non-existent. To her credit, she’s recruited an impressive roster of musicians to back her up – producer/bassist Larry Klein, guitarist Dean Parks, steel guitar player Greg Leisz among them – but Pidgeon’s wispy, willowy sway finds the proceedings rarely rising above a whisper (think Norah Jones at her most nocturnal). The only time Pidgeon and company gather any modicum of am upbeat tick is when they turn up the tempo on, appropriately, “That’s Life, That’s Hollywood” and a somewhat spunky cover of the Beach Boys’ “Wouldn’t It Be Nice.” Otherwise, consider this a rather drowsy digression. (Hot Milk Records)

Rebecca Pidgeon website

CD QuickTakes, CD Reviews, Emo, Pop

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