EP REVIEW: You Blew It!- You Blue It
As many blogs and fans have mentioned this year, it’s the 20th anniversary of Weezer’s undeniable Power Pop/Punk Pop self-titled masterpiece (commonly referred to as The Blue Album). As I stated in my recent review, there’s hardly anything wrong with that album. Masterful hooks, insane riffing, explosive drumming, and…well…just go read the review if you’re unfamiliar with how great Weezer’s debut is. While there’s been a surprising lack of actual musical tributes to the album (I guess musicians tend to be Pinkerton types…), Orlando Emo group You Blew It! outdid themselves with an entire EP dedicated to the album.
It makes a ton of sense that Weezer would be appreciated by bands that are currently bringing Emo back to the forefront of the conversation. The Blue Album helped to chip away at the dominance of Grunge in the early 90s. It opened the doors for more “Alternative Rock” bands and the explosion of Emo that would come later on. To pay tribute to Emo music in one of its earliest (Or, eat least earliest popular) forms is fitting for a band on a label at the forefront of today’s Emo music. And coming from the band that gave us one of the best Emo albums of the year so far…well, that’s just spoiling us.
The band does a great job at keeping their choices interesting for the short length of the EP. The 5-Track EP begins with a cover of In the Garage, which is actually my least favorite track on the original album. However, the decision to start with this track- and not Buddy Holly or My Name is Jonas- is pretty ballsy. While they don’t really make me love the original track any more, they do manage to give the song a somewhat distinctive flavor. Every track here manages to tribute Weezer without being a complete note-for-note cover. The vocals on My Name is Jonas add a bit of grit and abrasiveness that definitely wasn’t in the original song.
The band clearly pick songs that are their favorite, and not the clear and populist choices (As awesome as Buddy Holly and The Sweater Song are). The results tend to be interesting, and enjoyable. While there’s no way they could ever come close to the greatness of the original Only in Dreams (especially cutting the length of the song’s original length), they manage to do a classic some relative justice. The final two tracks, Surf Wax America and Susanne, manage to make the entire EP something special. Surf Wax America has some great vocals from Tanner Jones, while giving the original song some distinctly Emo guitars. The effect makes the song both an effective tribute and something fresh, particularly in the final seconds of the song. The lo-fi and acoustic recording of non-album track Susanne is also a special treat, giving the track enough of a tender edge to end the frank and enjoyable nostalgia that makes this EP the fine tribute it is.
Summary: You Blue It manages to be a pretty enjoyable tribute, avoiding obvious covers and adding distinctive (and decidedly Emo) touches to each and every cover.
Choice Cuts: Susanne, Surf Wax America
Leftovers: In the Garage
B
You can stream the entire EP below. You Blue It is out now on Topshelf.
ALBUM REVIEW: La Dispute- Rooms of the House
It’s a bit unnecessary to lump La Dispute in with this whole “Emo Renaissance” (I won’t call it a revival). The band has been around since 2008, and they have two well received albums, Somewhere At the Bottom of the River Between Vega and Altair and Wildlife. Despite their clear history, many have lumped their stronger post-hardcore tendencies into this growing trend popularized by bands you’d find on Topshelf Records or Tiny Engines. However, even if they don’t necessarily belong in the same list as You Blew It! or the Hotelier, when they are, they stick out.
A lot of Emo music, despite the heart-on-its-sleeve delivery, can feel somewhat distance. Lyrics may seem vague or unspecific, and only vaguely tragic or despondent. Even the best bands of this Renaissance can fail to truly capture something special when it comes to lyrical things. Rooms of the House is a moody album, and probably the band’s most Emo-sounding album yet, from the dynamic contrast in songs to right down to the blues of the album cover. It also achieves this feat by outdoing their contemporaries lyrically, with Jordan Dreyer exploring lyrics so personal that the album comes across as being a Hardcore Benji.
The band has a very particular sound, and they do it pretty well. This album is divided by angst-ridden rockets and slower, more somber songs. They do both with equal ability and effect, and the contrast in the two styles. Some of the heavier songs can become a bit samey, with little sonically that separates them. Luckily, Dreyer’s vocals are commanding enough to make even the least unique songs worthwhile. Tracks also follow very basic structures, which helps the album to move along rather fast. The propulsive songs aren’t the highlights of the album (Save the nicely done intro, Hudsonville, MI 1956), but they serve to make the album less homogenous and add grit to the more emotive quiet songs.
Really, the emphasis on this album is lyrics. Dreyer is an excellent story teller, exploring emotional ruin with a scope so precise that the pain is almost palpable. Their sound doesn’t lend itself to long lengths, but they do surprisingly well on Rooms of the House. Even when the sound can falter into monotonous territory, Dreyer can keep full attention with his bold and personal lyrics. It manages to keep a nice energy throughout, and the despondent tone never really brings it down. It’s a nice mixture of Dreyer’s depression and the rest of the band’s unrelenting energy. The sound doesn’t really open anything over repeat listens, but it’s a formula that works well for the band. It’s really the band’s effectiveness in adapting their sound for each song that’s so enjoyable. Their ability to quietly back a near whisper at the beginning of Woman (In Mirror) or the almost ballady vibe of the stunning spoken word closer Objects In Space really make the album shine, while also exponentially cranking up the volume of depression.
In terms of bringing out the bitterness and sadness associated with places of the past, Dreyer hits the nail on the head with the lyrics. Throughout the entire album this theme repeats and never gets old, with new anecdotes fleshing out the “point” to it’s fullest extent, with the band backing everything with some nice competence and energy that makes Rooms of the House a memorable and worthwhile album, whether or not it’s actually a part of this whole Emo Renaissance.
Summary: Rooms of the House, despite almost veering into monotonous territory, manages to illustrate a depressive and nostalgic message with energetic songs contrasting slower and emotive pieces, crafting a worthy and introspective post-hardcore record.
Choice Cuts: Hudsonville, MI 1956; 35; Objects in Space
Leftovers: First Reactions After Falling Through the Ice
B
You can stream Stay Happy There here. Rooms of the House is out now on Staple.
EP REVIEW: Krill- Steve Hears Pile in Malden and Bursts Into Tears
The album art for Krill’s newest breakout EP, Steve Hears Pile in Malden and Bursts Into Tears is simple, but striking. The worn face, the detail in the wrinkles on his clothing, the odd lack of arms, the detail in the shade, and then that blank mirror. I don’t know what it’s saying, but it’s saying something moody. Just like the title (Which is joyfully long and specific), the entire EP is an emotive, if slightly homogenous, effort.
The vocals here are the clear standout, ranging from throaty screaming on the end of Unbounded Nameless Future to some truly endearing whining at the beginning of Turd. Sometimes whiny vocals on garage rock projects (Which this punky EP barely qualifies under) can strain, but here they manage to bring you in. The animated angst displayed on the propulsive Fresh Pond is absolutely infectious, and it absolutely drives the song.
The one thing this EP suffers from is the fact that it’s very anchor heavy. Turd is an amazing anthem of feeling lost and not functioning, with some nice drumming and a stellar vocal performance. The lyrics are wonderfully vague throughout, but the sound helps to direct things into an understandable direction. The propulsive closer Fresh Pond similarly focuses all its energy on some great crescendos (With some subtle yet stellar moments where the drums and guitar quietly works together). These two tracks are two of the best rock tracks of the year, which obviously shows that Krill has a lot going for it.
The other three tracks here are fine, with none of them being unlikable. The title track that acts as the intro is a tad repetitive with its riffing and it does feel a tad unfocused. It rushes forward like a train without any defined stop. But there’s some great vocals towards the end of the track that make it really worthwhile (Plus it’s only a little under two minutes long). Sweet Death has some cool guitar work going on, but the verses feel a bit formless, which doesn’t really mesh with the rest of the project. Unbounded Nameless Future has great vocals at the end and a cool groove, and it’s probably the most serviceable non-highlight here, yet it doesn’t do much to separate itself from the pack. However, when looked at as a sampling of what Krill has to offer, Steve Hears Pile in Malden is a fine EP that doesn’t waste any time to present Krill as the potential garage powerhouse it is.
Summary: This short-but-lengthy-titled EP is clearly heavily reliant on it’s center and closing tracks, but the overall EP is some fine Garage Rock/Punk (almost Emo) Rock that shows Krill has something distinctive up its sleeves (Especially in the vocals department)
Choice Cuts: Turd, Fresh Pond
Leftovers: Steve Hears Pile in Malden and Bursts Into Tears
B
You can stream the entire project below. Steve Hears Pile in Malden and Bursts Into Tears out now on Exploding in Sound.
ALBUM REVIEW: You Blew It!- Keep Doing What You’re Doing
Unlike many fellow bloggers, I’m 18. I’m still in High School, and when Emo rock was blowing up with Sunny Day Real Estate and Saves the Day, I was probably still shitting myself. However, there’s no denying that that music eventually would have influence on music I did connect with. I’m sure all those awful pop-punk bands that I was obsessed with in High School had some roots in the angst-driven Midwest Emo of the late 90s and early 00s. Plus, I’ve had the decency to go back and listen to those earlier bands and appreciate what they did. So, I can at least vicariously feel some nostalgia in this sudden Emo Revival. Topshelf Records, the frontrunner in this revival, have given us another album defined by this revival, and it’s most “revivalist” album in this movement yet.
You Blew It!, Orlando’s major player in this revival, come across as being a cleaner Cap’n Jazz…or a cleaner version of any 90s emo band on Keep Doing What You’re Doing. The vocals only veer into screechy territory during power choruses and the guitars and drums never get messy or tangled. While a “clean and cut” sounds pretty bland (The label claimed that this record has the band “dialing back on their more raw influences…”, it’s amazing just how engaging and enjoyable Keep Doing What You’re Doing Is.
In fact, this album probably harkens back more to the cleaner early 00s Emo Punk-Pop, with relatively simple song structures (Many of the songs try to go for the classic verse-chorus formula) and smoother vocals. However, You Blew It! manage to take this somewhat sterile approach and make something transcendentally fresh with it.
The lead vocals here are probably one of the best elements Keep Doing What You’re Doing has going for it. On songs like Award of the Year Award, the raw and inspired singing that verges on yelling amps up the energy and really resonates in a way similar to the bands that inspired them. Even though they’re most noticeable when they’re loud and bombastic (Like with the explosive gang vocals on Better to Best), there are subtle moments where they shine through as well, like on the outro of House Address or during Regional Dialect. There are moments that I wish there was more diversity in the vocals-the subdued You & Me & Me is a bit too sweet and monotonous- but for the most part the vocals have the ability to command attention and deliver some incredibly emotive moments.
The guitars here also shine through, delivering riffs and tones with solid execution. They aren’t overly intricate or loud, but they demand attention through how masterfully they’re executed. Part of what grabs you in the first couple of seconds on this LP is how well done the opening riffs are on Match and Tinder. House Address also attests to how integral guitar is to this album working. Even though experimentation is kind of low here (Save a gloriously odd solo at the tail end of Rock Springs), the guitar does the best it can to make Keep Doing What You’re Doing a very good album.
Keep Doing What You’re Doing isn’t a revolutionary album in this revival, but it is a very well executed and incredibly enjoyable one. The band has found a sound that works for them and uses it to its fullest extent. It sounds just like its influences, and honestly would fit right in with those bands.
Summary: Keep Doing What You’re Doing manages to be a fine example of what this Emo Revival has to offer, with great guitars and vocals keeping every song (From the fantastic ones to the bland ones) interesting and enjoyable.
Choice Cuts: Match and Tinder, House Address, Better to Best
Leftovers: You & Me & Me
B
You can stream House Address below. Keep Doing What You’re Doing is out 1/14 (Tomorrow) on Topshelf Records.
Vantage Point Music 