Born as a side project between two prominent emo bands, Chris Conley of Saves the Day and Max Bemis from Say Anything, this album also features other members from each group and covers the same standard fare for the genre with songs about breakups and couples reuniting. The album features 13 tracks of mostly short duration with a few longer tracks mixed in. Fans of either group and fans of emo music in general would be well served to give it a listen.
Bemis’ voice provides a steadying vibe to a combination of mixed melodies ranging from punk to falsetto/funk. Each track tries something new and rarely do the songs blend together into an album’s worth of material that the average listener can’t tell apart.
At times Conley’s voice sounds like that of a teenager yet to reach full development but it compliments that of Bemis in an organic fashion. While emo music has gotten a bad rap in recent years (I am talking about you Chris Carrabba, lead singer of Dashboard Confessional, and the frequently melodramatic Conor Oberst, of Bright Eyes fame,) this album is a beacon of hope. When all of the bands in the genre are writing eerily similar songs something has to give.
At a relatively brief 35 minutes some of the album highlights include, “Back Against the Wall,” which features a funky baseline supported by nasal vocals and a steady drumbeat. “Don’t You Want To Come Home,” is one of the softer tracks on the album and the lyrics detail a breakup gone bad.
This album might be more of a wait and see than a must buy unless you are a fan of Saves the Day and Say Anything. No single track really emerges as a clear cut single, though the album is sure to receive steady radio play on college stations. I rate this one a 5 out of 10 and buyer beware, this is probably for emo fans only.
The Fray – The Fray
This review is dedicated to all female fans of Grey’s Anatomy because the show is sure to keep The Fray relevant and employed on a major label as long as the show remains on the air.
The first single, “You Found Me,” stays true to the formula that worked on their first album. They attach a catchy guitar hook to a well-placed piano and insert a slow build up to the angst and general malaise of lead singer Isaac Slade. Hard to believe it’s been four years since their multi-platinum debut “How To Save a Life,” which was powered by the immensely successful title track and the aforementioned attachment to Grey’s Anatomy.
The songs themselves are decent enough and a few even stand out, primarily, “We Build Then We Break,” and the album opener, “Syndicate.” The band and the producers (who return from having produced the group’s first album) are simply sticking to the formula that made them successful in the first place. Their demographic is notoriously fickle and as a result the band takes few risks and instead steers along at an inoffensive pace. Even Coldplay learned eventually that nearly every track on the album can’t contain the piano if a band is to evolve and gradually explore the outer reaches of their musicianship.
For fans of The Fray this album will be what you expected. For everyone else, if you enjoy the single you will like the rest of the tracks. I give it a 6.5 out of 10.
India.Arie – Testimony: Vol. 2, Love and Politics
For those unfamiliar with her music, her previous album, “Vol. 1, Love & Relationship,” chronicled the end of her previous relationship, and her new record takes a firm step towards resolution and hope.
Arie is comfortable skipping around genres including folk music and hip-hop. She gets help from notable guest stars MC Lyte, Musiq Soulchild, Gramps Morgan, Dobet Gnahore, Terrell Carter, and Sezen Aksu. In general she just seems happier than in past years and it shines through in the music.
She sings about the poor on “Ghetto,” and the bonus track “A Beautiful Day,” finds Arie singing that life is a challenge not a competition. She preaches faith and positive thinking in this set of tracks and while that does grind on the listener toward the end, the theme of this album (and all three reviewed albums this month) is to be patient while listening and you will be rewarded. The best track on the album may be “Chocolate High,” a duet with co-writer Musiq Soulchild is highly addictive and likely to be put on endless repeat.
The reason behind the use of the word politics in the album’s title is that Arie broaches a number of serious and sensitive topics. She sings about the aftermath of Hurricane Katrina, the Iraq war and improper sexual conduct with minors. For listeners who are in a dark place and seek songs of hope and the human spirit, this album is just what the doctor ordered.
On the whole this album is a little preachy but also makes no apologies for its songs of staying upbeat and helping yourself. Her voice oozes soul and her arrangements are nearly flawless. I give it a 7 out of 10.
Brett is a 3L and can be reached at forum@valpo.edu.
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