thepaintedman rates this:

Brad and Brad are The Glass Gentlemen. Their new, self-released EP is entitled Listen Carefully and is available for download now. Featuring a few songs that you may have heard on previous monthly mixtapes (“Night Sleep Maybe” and “Ocean Stars”), the 8 song EP plays as equals parts The Anniversary, The Get Up Kids, Arcade Fire, and Brand New. With a seemingly steady diet of 90’s emo/indie rock and alternative Internet radio, the Brads exceed at one thing in particular… demonstrating promising musicianship and a knack for songwriting. While, I think it would be a fair assessment to say that these guys aren’t quite there yet, it seems fairly certain that they are well on their way to becoming a commercially viable alternative rock band that could easily be spoken in the same breath as bands like Taking Back Sunday.

As noted, what stands out most here is the band’s potential. Listening to what the band could do with little to no production value, it’s exciting to think of what they could sound like with a bit more of a budget. Their sound borrows a little bit from some scene influences, but is something it’s own. They demonstrate their rock chops on “Loudest Western Front” while showing a softer side on “Ocean Stars”. Each track has a feel it’s own, but there is continuity in their sound throughout.

The music is mature, both in content and songwriting. The music is well written, with some varied song structures and elements that make the sound completely non-generic. The lyrical content is not juvenile or overly angstful, as the genre tends to fall prey to. It’s obvious that despite being an unsigned, independent band, The Glass Gentlemen are not a couple of high school kids that just started playing.

That said, there are a few things that the duo will need to work on to fulfill their aforementioned potential. Vocally, there are definitely moments where notes are flat and/or forced. Perhaps this is more an issue of production quality and perhaps it could be addressed by reassessing the vocal range of the singers when writing the vocal parts. They strained vocals, ala Chris Carraba, employed in many of the musical peaks of the songs on this EP are solid, what sometimes falls short are the harmonies and soft, higher pitched vocals both in the forefront and background. There is an overall good sound to the vocally, but it can be better.

The band seems to have found their sound. It needs to continue to be refined, but it’s there. Couple this with a little more production value and some vocal tweaks and I find it quite likely that The Glass Gentlemen is a band that could catch the attention of the labels. For this band, it’s all about taking this solid effort and building on it. Tap into the obvious potential that’s there. These two guys named Brad should have a bright musical future and this EP is a solid starting point.

thepaintedman rates this:

Weatherbox is the new Piebald!

Don’t take my above statement lightly as Piebald is top 10-15 band of all-time for me. Piebald was the best band ever given the tag of “emo” this side of Jimmy Eat World… quirky, fun, witty, nerdy, and with rock and/or roll flowing through every vein of every member of the band. With members finally going their separate ways to pursue other life endeavors after years of rocking our faces off, a new entity had to fill their shoes.

Brian Warren, formerly of a band named after Piebald song, “My American Heart”, has stepped up to the plate with his Weatherbox’s second release, The Cosmic Drama, released exclusively on vinyl and via digital download. The band’s first release was pretty good from what I remember, but unfortunately I am not certain exactly what I thought about the album when I reviewed it… which is a sign of an average album. And while I can’t remember much of their first album, I promise you that will not happen with this one. Their new status as Piebald’s successor cements them into my musical rotation for a long time to come.

It’s hard to know where to start with this album, it ranges from acoustic tracks (“They’re Ready for Us to Come Home”) to songs with hard rocking choruses amidst slower verse structures (“Mindthings to W.A.S.T.E.”) to a truly classic Piebald rock sound (“…And You Will Know Me By The Trail Of Dead”). The quirkyness and offbeat song structures are fantastic in just about every way. It’s just hard to put this album into any other words than, “Weatherbox is the new Piebald” so perhaps I quote their wikipedia page:

Weatherbox is a 5th wave emo band with 2nd wave emo tendencies from San Diego, California, led by ex-Mister Valentine & My American Heart member, Brian Warren. Other members of the band include drummer, Drew Bent, guitarist, Garrett Prange, and bassist, Nathan Aguilar.

“5th wave emo” with “2nd wave” tendencies… BRILLIANT!
But wait, there’s more… a CONTEST (I mean, it is Contest Week, right?)…

A DIY Promotion Contest entitled: Stick It to the Man!

The Prize:

Limited edition copy of “The Cosmic Drama” on BLUE vinyl

How to Win:

Download these DIY stickers (or design your own).

Print them, stick them in awesome places, take pictures, and email them to justincharlesharlan@gmail.com

Post this banner on messageboards, blogs, and websites with links to this article using this embed code: (and remember to email justincharlesharlan@gmail.com)

The most interesting use(s) of the stickers and/or banner wins. There will only be one winner and all entries must be received by Halloween (October 31st). This allows you one last stickering hurrah on Mischief Night!

While you are sticking it to the man, make sure to whet your whistle for your new album by enjoying this free MP3 track from the band: “Ask My Flashlight”

thepaintedman rates this:

I am working on a review of the85bears‘ album entitled 10 Years Look Good on You for Decapolis, but I though it would be cool to share my complete unedited notes with my readers here, as well. In short, this is an album of good music that is poorly recorded, but I’m okay with that, completely. Fix up the recording and trim a few songs to make it an EP, and it’s a solid 8, but as is, we’ll call it a 6.5.

Here are my unedited notes, the only changes from my original scratch are the links I added. Enjoy.

“Quaint and Country” – I’ve read tons of praise by many for this song on my first mixtape. It’s enjoyable and reminds me of an acoustic musician I liked a lot in my teen years called Feeling Left Out.

“Shadows” – Harder edge, the vocals remind me of a song now defunct punk influenced rock band Giving Way (Jon is now lead vocalist in Holler Wild Rose!, Lou is in the band with him, not sure where Jimmy is now, but he played with Anberlin for a bit and was in Evelyn Hope, too). The overall feel of the song is very reminiscent of Full Surrender, in the acoustic guitars and hand drums juxtaposing with a hardcore type edge.

“Meshac” – A beautiful, worshipful song. The female backing vocals enhance this track more than in previous track (though they never took away, this track specifically benefits from them). The hand drums continue to bring forth comparisons of NJ’s Full Surrender.

“Speak Now” – Similar tone and feel to what has been established on the album thus far, the chorus picks up the tempo from the verses, like the handclaps in the chorus a lot. Adds a fun feel to the track.

“What You Hate” – More bands keep coming to mind as I move forth through the album, this track brings all that was good about early emo to mind, as well as a great rock band that was on Tooth & Nail a few years back called Fighting Jacks… though the acoustic instruments are a stark contrast to Fighting Jacks’ powerful electric sound. The female backing vocals are perfect here, sounds like a cello in there somewhere too.

“Needles” – Good, downbeat track, another worshipful tune at first, picks up after first verse a bit with some classical guitar that screams “Esteban!” The recording on this track detracts from the song a great deal.

“Abraham” – Not a big fan of this track, slowest track up until this point. Honestly, just don’t really like it.

“Mercy Unending” – Another track that suffers from a poor recording. Have a hard time getting past the lack of production on this, but underneath it, sounds like a good song, again presenting a worshipful tone like “Meshac” or “Needles”.

“The Vine” – Love this track. Again I am reminded of what was good about early emo music. Powerful lyrics, emotive vocals, good song structure. This is the kinda of song that could make me cry if heard at the appropriate time, like I did whenever I saw the Operation (Damn mewithoutYou for blowing up and burning out their first and better band), even though I tried not to.

“Friends with Benefits” – Piano is a good way to win me over in most case, this is no exception, good song about love, lust, and life.

“Feather White” – Completely different from the rest of this album. This is basically a spoken word track, a poem spoken on top of music. Different, but interesting. Dig it.

“Never” – I enjoy the guitar work on this track, not much else to say. Short song.

“It’s All His” – Cool instrumental (complete with xylophone), the guitar work seems to build up and up, but never seems to fully deliver. Sounds more like a track that comes in between two others or is the background to a transitional scene in a movie. Not the best way to close the album, but overall a decent track.

Overall: Poor production value, but that’s okay when an album is essentially a collection of self recorded tracks distributed for free. Lacked flow, meaning it sounded as a collection of songs, not an album, per se.

thepaintedman rates this:

Sometimes I find it hard to put into words what I think about music. I find reviewing EPs particularly tough, in fact. I often feel like there isn’t enough music to make me decide fully what I think. While this is completely untrue for most of the EPs release by Velvet Blue (a great label that I have contested for some time is at its best when releasing EPs), it tends to be the case for most other bands and labels. The Skylife’s self-titled EP is no exception.

As I had intended on posting this review last week, I have continually pushed it back due to the fact that I have less to say about the release than I’d prefer. I’ll start with some of my basic feelings about the EP, then I will share my raw, unedited notes (originally scribble on a steno notebook at work):

Despite being an East Coast act (specifically from my home area of Philly), the band has a very West Coast sound with vocals that are hauntingly familiar, despite the fact I can’t pinpoint who the vocals remind me of exactly. The EP is very radio friendly, as it sounds like radio punk inspired alternative rock at times and emo tinged indie rock at others; fans of Panic! at the Disco, Fall Out Boy, Silversun Pickups, Anberlin, and Taking Back Sunday will all find something here they like. As a fan of Jimmy Eat World, The Juliana Theory, and Sunny Day Real State, I can hear an older emo/indie influence, as well. Overall, the sound is extremely radio friendly and far from “original” but it’s not teeny bopper garbage. It can simply be best described played and well produced alternative rock with emo and pop-punk leanings. While the EP was enjoyable, it loses a few points with me for being a bit generic. I don’t expect that it will be in heavy rotation for me, by any means… but I wouldn’t be surprised to pull it out for a listen here and there.

As far as the songs go, here are some quick thoughts I had on each track:

1 – Opening riff reminds me of an opening riff to one of my favorite tracks by Dead Poetic. Good vocal harmonies, well written lyrics.

2 – Something a bit Jimmy Eat World-ish early in the track, yet somehow something made me think of At the Drive-In, too… maybe the background yell at the open of the track. The voice is very familiar, especially during the harmonies. Good tempo change going into chorus. Overall Anberlin type feel here… only it’s not crap.

3 – First downtempo track here. Emo emo emo. I kinda hear a bit of a Snow Patrol type thing here, too.

4 – Another song that makes me think of Anberlin. Very West Coast sound (Anberlin isn’t a WC band, but they have “that” sound)

5 – I think this is my favorite track. By this 5th track, it seems like they are hitting their stride a bit. An LP should do them more justice.

So far, they have only confirmed 3 dates, but the influential Seattle emo quartet is sure to draw some big crowds with their reunion.

Jeremy Enigk, frontman of Sunny Day, is often credited as a progenitor of the emo sound. He was first involved in a band that later went on to become known as Poor Old Lu, a highly influential band in the underground Christian Music scene that was the brainchild of influential musician and producer Aaron Sprinkle. He went on to join a band, then known as Empty Set, and they formed Sunny Day Real Estate. Since that time, Enigk and SDRE have been cited as an important influence by tons of bands in the emo scene they helped create, as well as many other related scenes.

The confirmed shows for the reunion begin in late September in Salt Lake City. the other two dates are in San Francisco and Seattle. Other shows are rumored, but all remain in the Northwestern US. So, for folks on the East Coast like myself, guess we’ll have to just catch the videos on YouTube or get a copy of the inevitable DVD of the reunion.

You can pre-order the album at: http://www.doghouserecords.com.

thepaintedman rates this:

David Moore, lead singer of seminal emo-core outfit, Split Lip, continues to morph his voice into something different. Due out on June 23, Moore’s debut full length is just one of several musical ventures he’s currently involved in. With a Split Lip reunion show that happened last month and some more Chamberlain stuff in the works, Moore, who had disappeared from the scene for some time (despite his part-time bluegrass endeavor, Chevy Downs), suddenly finds himself a very busy musician.

Moore’s debut is the logical progression in his musical growth and maturation. When Split Lip moved towards a more country influenced sound and became Chamberlain, the journey had begun. Now, the youth crew and emo-core musical influences have fallen by the wayside creating a lush, alt-country sound with a bit of a Bruce Springsteen feel. My Lover, My Stranger presents an aged Moore, introspective, optimistic, and thoughtful.

While much of the genre is quite critically acclaimed, I personally tend to find a lot of alt-country music to be drab and dull. The vast majority of it does nothing to interest or inspire me in any way. A few songs creep in from time to time that make my ears perk up ever so slightly, but that’s typically it. Moore’s debut, however, could be an anomaly. It’s true that it is unlikely to reach heavy rotation due simply to the album’s style vs. my genre preferences, My Lover, My Stranger will undoubtedly provide me with a solid soundtrack for relaxing at home, sitting in my office at work, and contemplating life… and I wouldn’t be surprised if a few tracks sneak into heavy rotation, afterall.

Moore’s sound is very accessible, fans of bands like Counting Crows would likely find this debut to satisfy their taste. The music is beautifully melodic and well produced. His vocals are haggard and rough, but very endearing and earnest. In fact, his vocals may be what most set this release apart from others in the genre. His voice is powerful and honest, whether he is singing about his own life and journey or talking to someone else in his life through song. The music is good, but his vocals are great.

Honestly, the last album with an alt-country feel that dig anything for me was Dustin Kensrue’s solo album, which came out some time ago. If you are like me and don’t typically listen to a lot of folk or alt-country, don’t dismiss this release before you give it a chance. Moore’s debut is definitely one of promise and strength. Several tracks on My Lover, My Stranger standout to me but “Home to Me” is definitely my favorite. The beautiful love song beckons the listener to “step into forever” with Moore, and whether or not you want to give him that chance, one thing is for sure: My Lover, My Stranger is a more than respectable solo debut for the former straight edge youth crew rocker.

I saw mewithoutYou’s first show… they didn’t have a name yet and were simply a side project for a great indie rock/emo outfit called the Operation. A few months later, they got their sound a bit more together, donned matching suits, and quickly gained much love in the surburban Philly scene, especially on the campuses of Eastern University and Valley Forge Christian College.

During this timeframe, I had the privilege of getting to know the guys of mewithoutYou/the Operation and running a few shows featuring these two great bands. Unfortunately, the Operation fell by the wayside as the guys forged on…

I still love these guys. Greg is one of the nicest people I’ve ever met. Aaron and Mike were always great to me when I worked with them. I used to hang out with former member Dan Etorre. Kleinberg’s wife was in a few classes with me in college. Overall, I feel privileged to have known these guys and still try to see them play when I can.

Many would call mewithoutYou’s musical journey a progression… growth as musicians. A band that becomes more avant garde and/or softer isn’t always a band that is “growing up”. And, as much as I take exception to the idea that growing up means getting softer, I do think that mewithoutYou is a band that has grown up. The angst of Aaron’s lyrics has been replaced with contemplation and introspection. The straight ahead guitar riffs and hardcore breakdowns have been replaced by musical experimentation.

However, I miss their old sound! While mewithoutYou has grown up musically, I still like their younger, fresher sound more. My favorite mewithoutYou release was their EP on Kickstart Audio. “Flamethrower” is still the best song they ever recorded and it blows me away each time I listen to it (which I still do frequently). The new release is just another step in the direction towards embracing the less abrasive and more drab indie sound. It’s good, I guess, but not the mewithoutYou that I fell in love with.

While Buzzgrinder’s Josh Mock stands “on the side of those who welcome and recognize the need for change,” I don’t always agree. If it ain’t broke, don’t fix it. So, I plead to mewithoutYou: Bring back the angst, the EP, A->B Life, and the matching suits… at least play “Flamethrower” for me… or, as Liam would say, “Play the good one!”

David Moore, formerly of indie rock outfit Chamberlain and hardcore punk band Split Lip, is set to release his debut LP, My Lover, My Stranger, on June 23rd. Unfamiliar with Moore or his former bands? This isn’t necessarily surprising, but without Moore’s influence the post hardcore sound would never have fully developed… I recommend starting with Split Lip’s 1995 LP, Songs You May or May Not Have Heard Before: Archived Music for Stubborn People.

But what about this solo project? Here’s what the press release said of Moore’s new sound:

Under Webster’s direction My Lover, My Stranger was completed in 2008. It is a lush musical departure for Moore, and its songs are filled with optimism and rejuvenation. From the opening anthem “Breaking You Down,” to the spiritually infused war cry “Jericho,” to the rhythmically rich love song “Corners,” My Lover, My Stranger seldom lets up. Moore’s vocals sound weathered and wise throughout, and the music takes on more melodic chances than ever before in his career. Due out this year, David Moore is sure to open some ears, and some eyes as well.

Not sure what to think? Check out for yourself at www.myspace.com/davidmooremusic.

PS. Keep an eye out for the Chamberlain reunion coming through a town near you.

thepaintedman rates this:

The Status has teamed up with indie powerhouse Doghouse Records to release their first full length album, entitled So This is Progress. Now out for a month, the album is starting to make waves and the band is wrapping up the final leg of a tour supporting Bayside, The Matches, and Valencia. With moments evoking Something to Write Home About… era Get Up Kids, vocal harmonies as solid as Midtown’s, and hooks reminiscent of The Starting Line, The Status is what I loved about emo when I was in high school in the late 90s.

Amidst the generic pop punk and emo of the past few years, this album easily stand out as one of the better ones released in the genre. At brief moments, the CD can sound a bit generic or a bit stale, but the overall product harkens back to a time when the emo scene was just starting to break into the mainstream with the success of Jimmy Eat World’s Clarity. It’s easy to hear that The Status is influenced by this era, as this reviewer’s relatively untrained ear can hear the same elements that evoked love affairs with the music of Piebald and The Promise Ring, as well as previously mentioned bands The Get Up Kids, Jimmy Eat World, and Midtown.

It’s not as if The Status is doing anything that is even remotely new, but they find a way to bring out the best of a genre inundated with overproduction, generic vocal tracks, unimaginative guitar work, and mediocre rhythm sections. Proper usage of slow build ups and brief, yet powerful breakdowns combined with solid musicianship and emotive vocals mark So This is Progress as an album that could stand on its own two legs among anything done by the aforementioned emo demigods. I will gladly be placing So This is Progress on the “emo that doesn’t suck” shelf right between Further Seems Forever’s The Moon is Down and Piebald’s If It Weren’t for Venetian Blinds… It Would Be Curtains for Us All. We should all be thankful that there is a modern emo band that comes across more like Sunny Day Real Estate with stronger pop sensibilities than another A New Found Glory clone.

Man, why do I suddenly feel the need to listen to “Blister” by Jimmy Eat World?

Standout tracks: “Back of Your Feet”, “Why are You So Sad”, “If There’s Love”, and “Sinking”