Arise and Ruin’s Night Storms Hailfire

Music-Reviewer.com

October 2009 Music-Reviewer.com

Arise and Ruin’s Night Storms Hailfire

Heather Gioia
Intern

Artist: Arise and Ruin

Album: Nights Storm Hailfire

Label: Victory Records

Ratting: 5 of 10

With intense guitars and a strong sound, Arise and Ruin begins their album Night Storms Hailfire on a better note then the album ends. With a fast beat the track, Forever Damned (track one) has a fast moving pace and a dark and painful sound. Yet prepare yourself for just one of an album full of production and mixing mistakes. The vocals on the track contain very strong lyrics and evocative content, yet they sound as if you are listening to Ryan Bauchman, vocalist, scream from two rooms away. They are scratchy, gargled, and hard to make out; Bauchman sounds so far away that the best you can make out are grunts, moans and the hook, “Welcome back to hell.”

If you care to give them a second chance after that, you may actually consider listening to the rest of the album. Bring the Rain captures more of Bauchman’s vocal skills, while allowing guitarists Brent Munger and Sam Paterson to prove themselves as more than just background sounds. With a wailing guitar solo fallowed by brutal drums from Derek Prince-Cox leading to a dramatic ending, Bring the Rain convinces you to give the band a second chance.

Doom Sentence (track three) continues to show improvement, and contains what very well might be an extremely moving track. Something full of passion, pain and hate; complete with intense drums, guitar and bass – yet it sounds once again like you are listening to music from the next room over, causing what sounds like it has the ability to be a track capturing talent to become more annoying then enjoyable.

By the beginning of Thrashburn (track four) you are hoping that the mixing guys finally got their job down, and at first you thing they have. Opening with strong and crisp sounding interments, Thrashburn soon too becomes a mixture of splash, crash and what was that?

If you decide to give the album further try because you can hear some talent from these Canadian boys prepare yourself for a wait before track seven, The Aftermath. The Aftermath almost finally creates a success story capturing the talents of Munger, Paterson, Alexis and Prince-Cox; but it fails to start doing so until almost a minute and thirty seconds into the track. Although I do suppose that it is true, that patience is a virtues trait, and well, listeners must learn to wait.

Prepare yourself for mixing disaster after mixing disaster as Buchman continues to sounding distant, almost as if when recording he was screaming through a hole in the wall. The guitars, though, continue to contain a brutal sound as Munger and Paterson, lay down entertaining riffs. However, Alexis’ bass continues to sound overwhelming and to dominate from track to track attempting to match the drums of Prince-Cox.

If you make it to Thrashburn, the sound guys are starting to show improvement, as the guitars begin to match the bass, they have dominant riffs, and the drums become dominant, yet casual capturing beats.  Oh, and at the end do not worry your laptop, mp3 player, car stereo or musical player of choice did not suddenly die or stop creating sounds. Night Storms Hailfire contains a hidden track; secret is out, on track eleven, The Long Haul. And talk about a long haul; prepare to wait about four good minutes of silence before you finally find their hidden track.

Arise and Ruin sound like they could be a brutal band, amounting to violent mosh pits and blaring car stereos. It is highly recommended that for the next album attempt they stick with one recording studio opposed to using Chemical Sound to record drums, bass and guitar and then Highland Sound to record the vocals and additional guitars. The mixing of the two studios failed to mesh to become a pleasant sound. Timing on the tracks was not off by the artist, but intro silence to songs and exiting silence from songs as a fault of faulty mixing.

If these boys record with one recording studio, preferably not one of the two attempted on this album, they sound as if they will be a band worthy of new fans. Arise and Ruin’s underlying goal is to demand listener’s attention, and that demand for attention seemed to have been lost in studio problems; yet if you pick through the mess you can hear a band worthy of your attention.

Every Time I Die’s The New Junk Aesthetic

Music-Reviewer.com

March 2009 Music-Reviewer.com

Every Time I Die’s The New Junk Aesthetic

Heather Gioia
Intern

Artist: Every Time I Die

Album: The New Junk Aesthetic

Label: Epitaph

Rating: 8 of 10

Still strutting their stuff, Every Time I Die’s newest album, New Junk Aesthetic, can simply be described as heavy, fast and eccentric.

These Boston boys got together in 1988 and debuted their LP Gutter Phenomenon in 2005, which they used to establish themselves as the new sound in both country and metal. Gutter Phenomenon was the first of many albums to take listeners on a journey in which they had not previously experienced.

New Junk Aesthetic has the same old Every Time I Die sound, the album lacks amounts of new creativity, yet highlights the bands talents. So may argue that Every Time I Die needs to adjust their sound to the “new metal listeners,” but why? They have established a strong sound that has drawn in numerous fans.

As the life of both the party and the funeral, Every Time I Die opens on a strong yet smooth note with Roman Holiday (track 1). Roman Holiday begins to set the mood for the rest of the album and fully captures attention. Using the unique combined sound of a car halting to a screeching stop and a pre show tuning to open and close the track, Every Time I Die allows you a moment to pause and embrace what is going to happen and what has just happened.

Missing the unrolling screams of vocalist Keith Buckley, don’t worry they are soon to come, along with a new surprise as K. Buckley tries his hand at melodic singing.

Prepare yourself, because the tracks to fallow Roman Holiday are rapid, violent, atrocious and powerful.

Who Invited The Russian Soldier? (track 3) is the first track on the album to fully embrace the bands brutality. Drummer, Ryan Leger, hits the pause right on beat and fulfills the silence with that hardly capture his talents. Mixed in with the vicious drums are dramatic guitars, as Jordan Buckley and Any Williams, just begin to showcase their talents.

Incase you forgot that Every Time I Die is not your typical band (as if that is possible), they remind you with Wanderlust (track 4).

While Buffalo may not scream southern blues,  K. Buckley makes this stereotype seem ridiculous. Prepare your ears to be dumbfounded as K. Buckley successfully mixes his unrolling screams with the sound of sweet southern blues to create a twangy brutal sound. Along with him, guitarist, J. Buckley and Williams, exeunt their talent changing tempos and using a mixture of unique sounds.

Continuing to show case their talents, Every Time I Die continues on their musical journey to For the Record (track 5). Their lyrical skills are more than exemplified on For the Record, as K. Buckley’s lyric-writing becomes choppy and poetic. While the lines are embellished in K. Buckley’s screams, take a moment to read the lyrics and truly enjoy the tale of a fugitive who finally got caught.

An attacking lyrical opening leads into a strong ranting and back to attacking, as Every Time I Die takes the call and response out of the interments and hands the responsibility over to K. Buckley. But, J. Buckley,  Williams, Leger and Josh Newton, bassist, do not take a back seat on this track (or any for that matter). Guitar, bass and drums all rage on with simple beats and rhythms that combined to capture their true talents, For the Record allows these boys to proclaim that they have mastered the back-to-basics and can spice it up with a touch of personality.

Every Time I Die continues to storm on track after track with a new attack and story.  Buffalo 666 (track 12) provides as a closing intensified metal track in which K. Buckley proves his mastered skill of screaming.

New Junk Aesthetic ends on a fun and unique sound. Goddamn Kids These Days (track 13) incorporates everything that you have heard on the pervious tracks to create an ending masterpiece. Amongst various tempo changes, you will find K. Buckley move from unrolling screams, at times with a blunt forcefulness to melodic singing which creates a sound that captures your ears and makes you wonder where the band is going to take their sound next. From fast to slow, unrolling to blunt, Goddamn Kids These Days is a powerful call out to all who have failed to listen to the mistakes of those who came before them.

Whether the sound is the same as the last album or not, Every Time I Die has done what they do best and made a commotion. New Junk Aesthetic is nothing to be looked over, but a simple step forward and sampler of what more Every Time I Die posses to offer in the future.

Within the Ruins’ Creature

Music-Reviewer.com

August 2009 Music-Reviewer.com

Within the Ruin’s Creature

Heather Gioia
Intern

Artist: Within the Ruins

Album: Creature

Label: Victory Records

Rating: 8 of 10

Keep your ears tuned in and your body ready to move because this is a band on constant attack. Get ready to lose yourself in the arsenal attack of Within the Ruins.

Formed in 2001 out of Massachusetts, Within the Ruins have been on constant attack. Creature, their first album is a complement of musical-attack after musical-attack, creating a complete assault to the ears. If you have been looking for an album that will get your blood pumping, your feet moving and place your body in a constant state of musical convulsions — Within the Ruins’ Creature is it.

Creature is a strong album full of energy that combines a multitude of brutal musical elements. From breakdowns and riffs that leave you in awe to off-the-wall tempo changes and a dash of personality, Within the Ruins has created an epic listening experience.

The Book of Books, track one, begins the musical journey into the musical talents of Within the Ruins. Kevin “Drummer” McGill provides a constant attack on drums throughout he album. While Joe Cocchi and Kyle Marcoux’s fast moving and jaw dropping guitar riffs are matched by the booming sound of Madison Roseberry’s bass. Instrumental talents all of which underlay Jon Grande’s deep demonic voice exemplifying his lyrical lines. The Book of Books is only the first page in Within the Ruins’ story book of life and its encompassing pain.

On an even stronger attack, Arsenal (track two) begins with a dark fast tempo which sets the passe for the rest of the the track. McGill is on constant attack with his double bass, as shot-after-shot is fired with brutal intensity on each beat. Within the Ruins is ready to bring their attack on the world as Arsenal captures the talents of each member. With constant lyrical and instrumental strength and power, Arsenal is only one of the many chapters of musical success.

As if that was not already enough, Within the Ruins continues on their war path with Dig a Ditch (track three). With a smooth and relaxing guitar opening, Dig a Ditch soon finds a more brutal sound when matched with attacking lyrics. Get ready to go crazy with Grande, while his deep dark lyrics are matched with dominate drum beats, attacking cymbal fills and exciting guitar riffs to create a painful demonic dark sound.

And on goes Call Off the Wedding (track four) and Extinguish The (track five), until your listening experience arrives at track six, Jump Ship. Sit back, relax and enjoy the instrumental journey of tempo and rhythmic changes. Jump Ship is one of two instrumental tracks contained on Creature which capture that talents of Cocchi, Marcoux, McGill and Roseberry as they attack a multitude of musical elements to create two unique listening experiences.

Creature (track seven), Tractor Pull (track eight) and Holly Mess (track nine) all continue to allow Grande’s demonic voice to shin. Returning to the extreme sound full of energy, dark and painful.

Yet, do not go thinking that each track is a new version of the last. Each track on Creature obtains unique musical and lyrical elements creating, simply put a musical-attack. The intensity never falls and each songs beat is just as strong as the last. Get ready to pop in Creature, to be lost in the album for weeks. Between the instrumental talents, the vivid and emotional lyrics and the pleasant demonic sound of Grande’s voice, Within the Ruin’s Creature is a must own album.

Corpus Christi’s The Darker Shades of White Heather Gioia

Music-Reviewer.com

August 2009 Music-Reviewer.com

Corpus Christi’s The Darker Shades of White

Heather Gioia
Intern

Artist: Corpus Christi

Title: The Darker Shades of White

Label: Victory Records

Rating: 8 of 10

Prepare to have headlines in local papers once again read, “Girl trampled at local religious concert,” followed by a sub-headline reading, “Corpus Christi headlines brutal concert.”

Let your demons out to the slightly demonic sound of Corpus Christi as they rock out with strong Christian lyrics and an attackingly brutal sound. Who ever thought that Christianity and metal were not to be mixed—oh they were wrong. Corpus Christi makes their mark on the Christian metal realm with their first album, The Darker Shades of White.

Starting off with a dark intense sound the Parade of Scars (track one) begins with Justin Evans’ intense drums, quickly followed by the demonic screams of Will Henry. The chorus is framed by soft guitars, carefully presenting their talents, as Henry attacks at your heart with a beautiful, unexpected, soft singing voice. Making sure you are hooked by the end of track one, Parade of Scars explores various tempos, build-ups and breakdowns, as well as various levels of screams and growls.

Opening on another strong note, It’s Always Darkest Before the Dawn (track two) allows guitarist Jarrod Christman and Jon Pauly to set a strong beat. With powerful lyrics and the intense sound of Evans’ drums and Phil Smith’s bass, It’s Always Darkest Before the Dawn is the second capturing note leading right into the third—Marilyn (track three). Using vicious drums that are responded to by brutal guitars, Marilyn is simply a capturing track. With enraged screaming and clean guitars which lead you into yet another brilliantly sung chorus, Marilyn uses unique musical elements to create an album favorite.

Seem to be over looking, or listening, all of the religious references and God in the lyrical lines of Corpus Christi? Well, just in case you missed the strong Christian lyrics about the struggle of life and the struggle to find God in it, Corpus Christi makes their point clear in Baptized in Fire (track four).

Capturing a different sound, Baptized in Fire tells a story about haven fallen to evil and searching for a way out.  With simple, yet strong instrumental lines, Henry’s levels of screaming fail to please ears, sounding more like a lost voice trying too hard, then the talented vocalist you heard on pervious tracks. Yet, the tempo slows down, the guitars become clean and pleasant, and before you know it, Baptized in Fire has an enjoyable and relaxing sound that washes away the burning memory of uncared for sounds.

Bring it back to fast beats and in-your-face openings, Until the Day (track five) builds up to an even more rapid instrumental tempo and experiments with drum and guitar call-and-response and distorted vocals to create yet another masterpiece. Strong lyrics and instruments lead into yet another glorious chorus with a slow tempo put to Henry’s angelic voice. While each track may follow a similar pattern, containing a softly sang chorus, Corpus Christi fails to find themselves falling victim to a bad case of repetition.

It’s Always Darkest Before the Dawn, Marilyn and I Will Never Forget (track ten) take the cake as dominating songs. With lyrics you lose yourself in, hooks you find yourself singing by the end of the song and instrumental fills that pump the blood through your veins and make your feet move, prepare to be lost in each song. All are a masterpiece of demonic sounds clashing with an angelic voice and strong lyrics that require being played at a higher volume, lyrics to be belted and movement to the intelligent and talented instruments.

The Darker Shades of White holds a strong beat and intense sound from track one to the end of track eleven, Prodigal. Whether you are a fan of Christian metal or not, if you enjoy a heavy beat, demonic screams and the opportunity to rock out to talent, Corpus Christi’s The Darker Shades of White is well worth a listen or two… or maybe even purchase.

Zelazowa’s Elephants on a Mousehunt

Music-Reviewer.com

July 2009 Music-Reviewer.com

Zelazowa’s Elephants on a Mousehunt

Heather Gioia
Intern

Artist: Zelazowa

Album: Elephants on a Mousehunt

Label: Self Released

Rating: 5 of 10

Miss the post-punk sound, the twist off the sound of legendary punk bands such as the Sex Pistols, The Talking Heads and the Ramones crossed with a new indie twist? Well, Zelazowa, a bunch of boys from Philly have brought the simple rhythms and strong lyrics back to your stereo with their latest release Elephants on a Mousehunt.

Elephants on a Mousehunt is a fallow-up to Zelazowa’s EP released in 2005, Polymorph, and incorporates only everything that all of the guys have gone through in life and learned in music, to create a 52 minute musical adventure.

When you pop in Elephants on a Mousehunt be prepared to jump as Today is Tomorrow has a distinctive indoor beach party sound. It is quite the note to start the album on, opening with an upbeat and groovy sound matched with a rusty sounding vocals. Today is Tomorrow creates the urge to jump.

Skip forward to track three, You Say Love and sit back to enjoy love song rhythms placed to a twisted punk sound. With calm guitars, bass and drums you can sit back and take to heart the confused and unsure feelings about love we all feel. Be prepared to sit back and sway in your seat enjoying powerful, yet not overwhelming guitar riffs and drum beats. You Say Love is a love song for the masses, finally a song addressing the confused feelings love entails opposed to the head-over-heels in love feeling everyone else seems to focus on.

But do not get too relaxed, because Zelazowa picks the beat back up with another exciting yet relaxing track, Autumn which contains exciting guitar riffs capturing the talents of Bryan and Kyle Webber. Then be prepared to be lost in the catchy rhythmic opening of Boneyard Destination. Boneyard Destination has the back-to-basics bass sound dominated by Ian Sharkey beneath noticeable and notable guitar riffs.

Elephants on a Mousehunt has an upbeat punk-indie sound with harmonic and dominate guitar riffs, experimental drum beats and old school, back-to-basic bass lines. Until Serene, a distinctly different track and a personal favorite, guitars, bass and drums go from basic punk with an indie twist to a basic original metal sound. Prepare yourself for a brutal sound out of these sweet Philly boys, breath taking guitar solos highlighting talents the other tracks failed to. With piercing guitars and brutal bass and drum lines match with calm, yet angered vocals Serene poses as a successful experimental track as Zelazowa proves they can dominate back-to-basic sounds that are not prominently punk.

Triptaka’s Second War

Music-Reviewer.com

May 2009 Music-Reviewer.com

Triptaka’s Second War

By Heather Gioia
Intern

Artist Triptaka

Title Second War

Label Self Released

Rating 4 out of 10

Triptaka creates a 1970’s flash back, using an old school method of creating hybrid sounds. Triptaka combines of the sounds of metal, industrial and progressive rock in their first album release, Second War, creating a hit or miss mixture of sounds.

Second War opens with Suspended, a track that makes you want to get up and move. The electronic keyboard sound matches with the electric rhythmic guitar riffs to create a contagious rhythm. The chorus is a masterpiece of soft moving vocals and infectious rhythms.

Yet, the first four tracks all seem to fallow the same song layout and pattern leading each to fall victim to an infectious case of bad reputation. Lost and Leading experiments with a techno-industrial sound, while Second War tries-out and electronic-metal sound to nearly the same song.

Graeme Cornies, vocalist, has a soft, calm, monotone voice that matches best with the brutal sounds of Dave Kelly’s guitar riffs and James Chapple’s experimental keyboard rhythms. The synths provided by Chapple are rhythmically aggressive, yet when the unnatural sound of the drums makes it hard to truly enjoy the creative sound of Second War. Track four, Tamed, masters the relaxing, mind indulging sound of electronic rock. Which is followed by the soft calming beach sounds of Mother. With a smooth thick voice, Cornies relays painful vocals over the distorted yet real sounds of Chapple and the breath taking rhythmic passages.

Although the hybrid sound of Triptaka is not capturing through tracks one though five. Skip up to track six, Slowburn, because Triptaka finally embraces their true talents with and intense metal and industrial sound and attaching vocals radiating anger. Chapple finally proves to be an above average musician with a capturing solo as Kelly experiments with insane guitar riffs.

Picking up the pace after track six, Second War still falls short of an album that must be added to a collection. Triptaka seems to be attempting to find themselves and their sound in Second War (and achieved success with Slowburn). Give them a chance at a second album and conquering their sound and they may amount up to a band worthy of applause.

Static X’s Cult of Static

Music-Reviewer.com

April 2009 Music-Reviewer.com

Static X’s Cult of Static

By Heather Gioia
Intern

Artist Static X

Title Cult of Static

Label Reprise Records

Rating 7 out of 10

For those of you who thought Static X was a one-hit-wonder with Push It in 1999, you were wrong.

Releasing their sixth album, Cult of Static, and continuing to work on albums to come, Static X continues to prove they are more than just some boys who “struck it lucky” with their debut album in the late 90’s. Cult of Static is the bigger, moodier, layered epic sound that Cannibal (2007) was lacking.

Offering fans the new sound of continuous improvement, Static X starts things off on a fresh note. Lunatic has a raw sound and a gripping groove, and that is just the beginning of a nonstop ride. Terminal takes the sound to another extreme. Slowing the guitar tempo down providing the perfect backdrop for Static’s moodier, dark and deep vocals; Koichi Fuduka, guitarist, showcases his talents, picking up the speed during his provocative solos. Terminal captures the unmistakable and remarkable sound that simple riffs and rhythms are made into when played by talented Heavy Metal musicians.

The pounding sound and heart pumping beats don’t stop with Terminal. With a brutal assault, Nick Oshiro, drummer, captures a deadly and haunting beat that is unmistakably intense in Hypure. The drums are accompanied by the wailing guitar of Fuduka lying-in behind the demonic sound of Static.

Because your heart may be pumping too fast for your body to handle track five, Tera-Field slows the pace back down and provides a five-plus minute ride through groovy riffs, dark metal sounds and epic gritty howls. Tera-Field is a track you can sit back and completely escape the terrors of everyday life in.

Making sure you’re not too relaxed however, Stingwray picks back up the beat. But it’s You Am I that really takes the cake. With a unique cybernetic rhythmic, a breakthrough throbbing sound, and mysterious grooves, You Am I almost literally explodes with power.

Get ready to hit the gas, get up and move as the rhythms of Skinned take over your body! Then, ending on as brutal a note as they began, Grind 2 Halt is an electronic journey of distortion and brutal noises that spiral into oblivion. Sit back or stand up – your call… Grind 2 Halt is a distorted journey thrown together with the familiar Static X sound to create a musical ride fans will really want to experience.

With fast-driving songs, raw noises and somewhat absent-minded passages, Cult Of Static is evidence of the sweat, thrown-out voices and numb fingers that Static X puts into all of their work.

Scream Hello’s Everything Is Always Still Happening

Music-Reviewer.com

March 2009 Music-Reviewer.com

Scream Hello’s Everything Is Always Still Happening

By Heather Gioia
Intern

Artist Scream Hello

Title Everything Is Always Still Happening

Label Red Leader

Rating 6 out of 10

Slightly ADD? Then you should enjoy the mix up of emo, punk and indie that Scream Hello dishes out in their newest album Everything is Always Still Happening. Combining some of the most popular genres of music, Scream Hello has created an album that, for a lack of better words, is unique.

Formed in 2004, these New Jersey boys already have three albums under their belts and are planning on more in the future. In 2006 Scream Hello released The Infinite Son fallowed by both Smart and Stupid and Everything is Always Still Happening in 2008.

Everything is Always Still Happening provides a listening experience that keeps you on your toes wondering what will come next. From song to song, listeners will notice that the only commonality is the lyrical style, and at times even that’s likely to change.

Starting off with a relaxed pop sound, Everything is Always Still Happening opens with 35 Plums which is then followed by You Have Good Taste, or The Gilmore Girls song. Any fan of the popular WB hit TV show will fall in love with You Have Good Taste. Referring to the show’s main charters, the song specifically addresses Rory, “If only you could watch out through the glass on your TV Oh Rory, you are the one for me forget about Jess and Dean…” James Caverly, vocalist and guitarist, then continues to address Lorelei, Rory’s best friend and mother, “Lorelei, I know I’m young but mature for my age,” asking for her approval. You Have Good Taste is not just for the Gilmore Girls fans though with a simple yet impacting vocabulary and catchy course, this song reaches out to everyone who is or has been in love.

But don’t let the sweet-sounding fool you. Keeping your ears in tune, the sounds of Caverly and Daniel Kluxen’s guitar continue to change right along with the rhythmic beats of bassist Chris Connallon and drummer Adam Manus. No two rhythmic beats on this ten track album ever sound the same!

Embracing all they did in previous punk and hardcore bands, Scream Hello’s Bullets, embraces feelings of fear and anger reflected in both the lyrics and arrangements. With more of a gritty edge and darker sound, Bullets highlights the talents of Scream Hello as they prove their sound is capable of going anywhere. For example, if you bought this album assuming the band would be screaming the whole time, your patience is eventually rewarded. Caverly’s lyrics are loud, spastic and honest, as the sound behind his words is just as loud, spastic, and dark as his words are, “Helpless held by the throat, a hostage does what it’s told. Fear is a powerful thing; I’ve got this gun to show I’m so scared, I’m so scared, I’m so scared.”

The 52 second Business Ethics catches your ear first with the recognizable The Entertainer, then makes sure you are paying attention with a sudden change to a punk-pop sound. “Hope this isn’t the start because efficiency kills the heart,” ends the song abruptly. Business Ethics is a new twist on the interlude track, and one that will hopefully stick.

The band is not planning on hitting the road with a tour anytime soon, so Scream Hello fans (and fans-to-be) will be excited to find out that at the start of the new year they entered the studio once again. Recording at Exeter Recordings with Joe Dell’Aquila in Freehold, New Jersey, Scream Hello is staying on track — recording completely new material that will once again keep listeners ears wondering… what’s next?

Knox Bronson’s Pop Down The Years

Music-Reviewer.com

March 2009 Music-Reviewer.com

Knox Bronson’s Pop Down The Years

By Heather Gioia
Intern

Artist Knox Bronson

Title Pop Down The Years

Label Tangerine Sky Records

Rating 5 out of 10

Prepare for a musical high. Knox Bronson’s Pop Down The Years is an experience unlike any other.

With a voice comparable to David Bowie, English musician, actor, record producer and arranger, Bronson has fused melody, rhythm, organic style and electronic style together to produce brightly colored modern and classical pieces.

Pop Down The Years starts with the simple up-beat electronic track, Hey Little Earthgirl that will brighten up any day. With a driving beat, Bronson puts his lyrical and electronic magic to work, accentuating the lyrics through a vocal distortion. The lyrics match the electronic style of song, “Hey little Earthgirl I think your fantastic, intergalactic, Hey little Earthgirl, electronic where I’m taking you its supersonic.” Be prepared to hum Hey Little Earthgirl for the rest of the day.

Bronson continues to distort his Bowie-esque vocals in Old Man Cold Man which features a much slower and relaxing beat along with a mellow pop sound. Also notable is 3 Seconds Before Maia Smiled which begins with an interesting electronic, asian-sounding beat that slowly transforms into another relaxing mellow pop sound.

Using electronics to set the mood, Bronson brings more energy to Bordertown then you’ll find on 90% of the other tracks as he sets the stage for a mid-album pick up.

Taking a break from his Bowie-like vocals, Bronson distorts his vocals in a whole new way to create the unearthly electronic sound in Stay. Sit back and prepare to visit a far out place with one of the most relaxing, yet far out sounds you have ever heard. The almost six minute track is one you can put on and go about things while the mellow electronic sounds play in the background, or sit back and listen to the lyrics and unique style. Either way, Stay is one of hte more pleasurable listens on the album.

Proving his songwriting, arrangements and use of electronics is nearly endless, the do-it-all Bronson’s Pop Down The Years is an nearly endless mixture of one-of-a-kind sounds.

Ending with less reliance on the electronics, the album closes with its title track, a calming, enjoyable explanation for the title.

If you find yourself in a bad mood, pop in Knox Bronson’s Pop Down The Years, sit back and maybe play a game or chat on your laptop, but in the end… just relax. Before you know it your blood pressure and pulse will lower and everything will somehow feel okay. And if that doesn’t work for you, put Pop Down the Years away and listen to something else for a while… then come back to it like I did. Chances are, Bronson’s unique sounds are bound to grow on you.

In Remembrance…’s Nothing is Forever

Music-Reviewer.com

March 2009 Music-Reviewer.com
http://www.inremembrancerock.com Woodbridge, VA

In Remembrance…’s Nothing is Forever

By Heather Gioia

Artist: In Remembrance…

Title: Nothing is Forever

Label: Unsigned/None

Genre: Acoustic/Alternative/Rock

Rating: 9 out of 10

Finally a tribute band with meaning.

In memory of Capt. Brian S. Letendre, In Remembrance… does not only share his story, but also honor every member of the United States Armed Forces who have fought for American rights and freedom.

On May 3, 2006 Capt. Letendre, a husband, father, son and brother, died during operation Iraqi Freedom. In April 2008 Nick Letendre, Aaron Peck, Daniel Rastatter and Nick Harris brought their musical passions and talents together to create “In Remembrance…”

A combination of musical interments and lyrics with meaning, In Remembrance…’s Nothing is Forever is guaranteed to find a place in everyone’s musical library.

Their five track EP, Nothing is Forever show cases the exquisite mixture of the bands talents. With Letendre’s alternative and country-esk vocals, Peck’s lead guitar rhythms that keep you moving through the music, along with the sound of his alto saxophone, Rastatter’s classical rock, funk and progressive influenced bass and Harris’ progressive rock and hip-hop drum style, In Remembrance… finds their way not only into your heart but also your musical memory.

Brother is not only the feature tribute song but also Letendre’s temporary farewell and story about his older brother, Capt. Letendre. Pulling on the strings of your heart, Brother provides and an outlet song for anyone who as lost someone close to them.

With soft sounds and lyrics that everyone can relate to, Red Ink and This Life provide as a new twist on the softer side of rock. Be prepared for your ears to fall in love with Letendre’s voice, Peck’s guitar, Rastetter’s bass and Harris’ drums, while your mind gets lost in the words

From Red Ink’s “Well, wait a minute, just stop right there. Why am I the one who cares, someone’s missing but nothing’s wrong now that you’re the one who’s gone. Wait a minute stop right there, because I don’t care, I don’t care,” to This Life’s “This life aint good enough for me. This life aint good enough you see. This life aint good enough for me,” the sounds of In Remembrance… will stay with you long after you turn the music off.

With a goal greater then becoming the next big names in the musical word, the guys of In Remembrance… put their hearts and souls into the music making it a memorable experience. In Remembrance… strives to not only keep the memory of fallen soldiers alive, but also strive to make a difference outside of the musical realm. They are committed to donating 10% of their CD sales to Tragedy Assistance Program for Survivors (TAPS).