Thrice – To Be Everywhere is to Be Nowhere [2016]

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In 2012, after over 13 years of relentless touring, writing, and recording, Thrice decided to hit that ever-infamous “hiatus” button. The grind of being in a band their size had worn them down over those years, and they needed time to spend with their families – the value of which had been made even more apparent after several members losing loved ones during their last album cycle. With that in mind, the band embarked on a “farewell” tour that dug deep through fan-selected favorites, culminating in a huge 33-song long final show in July 2012. After that, the band dispersed to their families and new projects: Dustin became a pastor, Teppei opened a leather crafts shop, Riley started a baseball-themed grindcore band, and Eddie put in time with Angels & Airwaves. But the break didn’t last long, and in the waning days of 2014, the band announced their intention to get back together. And in a little under two years, they’ve returned with their first album of new music since 2011’s Major/Minor.

To Be Everywhere is to Be Nowhere finds Thrice essentially picking up where they left off with Major/Minor. The grungy, dirty rock sound they’ve had on that album and on Beggars before it is still firmly in place, but it seems like reconvening has also given them greater appreciation of where their music has come from in the past. One of the most obvious cues the band has picked back up are the larger, meatier guitar parts reminiscent of their Fire EP – “Death From Above” and “Blood on the Sand” both move with more power and weight than the band has shown in years, and while not quite as heavy, “Black Honey” and “The Window” pick up much of that EP’s dark and brooding undertones as well. “Hurricane” opens the album with a thick swirl of guitars and brooding atmosphere appropriate for the title, feeling as if it really could be buoyed on the winds of a storm. In fact, this record finds the band turning up the sludge and brood in every aspect, not just on the guitars – this thing is downright dirty sounding. Even in it’s most friendly and approachable moments, there’s a sense of claustrophobia and grit in the mix that doesn’t relent. Yet “Salt and Shadow” exists on that same album, a song with a gentle, heavenly atmosphere that would be able to slot itself perfectly on the band’s Air EP. But that’s about the only air and light that manages to work its way in both musically and lyrically.

Lyrically, To Be Everywhere is to Be Nowhere finds Dustin focusing much less on faith (as he had on more recent Thrice albums) and more on the social and political issues he first touched on with The Artist in the Ambulance. “Blood on the Sand” is a take down of the frightened apathy that causes us to build walls to keep out our fellow man instead of making an attempt at connection, and “Death From Above” tackles our willingness to bomb those same people from afar without ever putting a name or face to them. “Whistleblower” is an obviously pro-Snowden song, celebrating the individuals who risk their freedom and lives to enlighten the rest of the world to a massive wrongdoing, and “Black Honey” focuses on our often blind conquest to take the things we need without considering how the blow-back might affect us. It’s refreshing to hear Dustin have something to get angry about again, because it helps lend power to both the music and his own vocal delivery. Plus, even though some of the lyrics here suffer from being very on-the-nose, it’s brave for a band of their size to deliver a comeback album with lyrics that could potentially polarize old and new fans alike.

But for all the base-touching they do on this album, it feels like they’ve forgotten to bring anything fresh to the table. As a longtime fan you might be happy to hear those flourishes from throughout their discography, and as a new fan, they might even seem unique to you. But it’s disappointing that after five years apart – in such vastly different bands and even parts of the country – that they haven’t found one new thing to bring to the mix. In fact, a handful of tracks find the band veering dangerously close to rock cliché instead: “Wake Up” featuring a tired cock rock-esque chorus that settles for repeating the song’s title in place of any sort of lyricism, and “Stay With Me” apes U2’s worst arena rock tendencies and mixes them with a dash of sludgy guitars to no effect. At its worst, To Be Everywhere is to Be Nowhere ironically finds the band sloughing off some of their character and flair in an attempt to be both radio-friendly and to pay homage to their previous sonic explorations.

Sadly, this album ends up being very much a mixed bag. There are flashes of the band’s former glories littered in almost every track, but they’re also tempered by some of the band’s blandest moments ever put to tape. It’s not a bad album in any sense of the word, but after five years apart and plenty of exploration for each one of their members, it’s a shame that To Be Everywhere is to Be Nowhere finds Thrice simply mining old territory and watering down the rest. Perhaps this is just the band’s way of getting back to ground, consolidating the parts of the band they loved the most as a springboard for whatever comes next. Or perhaps middle age and family life has dulled their fire to prove themselves and take huge risks. And perhaps it’s too easy to compare this album to the rest of the band’s towering discography, because if this were any other band, it might be something fairly special. But in the end, they’ve simply put out an okay album after so many great ones. It happens.

Key Tracks: Hurricane, Blood on the Sand, The Long Defeat, Death From Above

My 2015 In Music: Highs, Lows, and Shows

It’s my yearly installment of a whole bunch of shit you ain’t gonna read! Cue up Huey Lewis and the News, cause it’s about to get all Patrick Bateman up in here. But anyway, this is the music I dug this year, the music that let me down, and whatever else fell in between. Here goes!

The Top Ten

1. Oneohtrix Point Never – Garden of Delete
It was honestly really hard for me to pick a number one album this year, or even a top five of any sort. But OPN gets the top spot for one very good reason: Garden of Delete is the most challenging, boundary-pushing album I’ve heard all year. Few albums ever give me that rare “what the hell is this and why do I like it?” feeling like Garden of Delete’s blend of angular, distorted synths, schizophrenic bursts of noise, and oddly melodic samples and robotic vocals did. It’s an album that refuses to stay in any one place for more than a minute, drawing in influences as far reaching as ambient and drone, dance music, rock, even industrial and metal, and yet somehow managing to make sense of it all. These disparate influences aren’t used as a way of showing off OPN’s production skill or as some hipster display of his own music taste either, they’re put to use as the building blocks of interesting songs and melodies – something that quite often falls by the wayside. No matter what genre you might claim as your favorite, I think Garden of Delete has something to offer you, and if you like being challenged by new sounds, it’s my highest recommendation of the year.
2. Death Grips – The Powers That B
Last year was an odd year for Death Grips. Within a month, they dropped their most esoteric and labyrinthine slab of music yet, Niggas on the Moon, “broke up” (but not really), and announced that that album was actually the first disc of a yet-to-be-finished double album. Well, that album was finally completed this year, with the March release of Jenny Death. Jenny Death is the polar opposite of its first half – where NOTM was built upon layers of skittering drums, vocal samples, and introspective lyrics, Jenny Death brings the aggression back in full force. This album finds the band incorporating more of a hard rock sound into their trademark blistering electronics, introducing psychedelic guitar riffs and crushing live drums to amplify their sound to the point of constant, audible distortion. And where NOTM found vocalist Stefan Burnett looking inwards, here he projects outwards, raging at the world and using that anger to try and cover up his own crippling depression instead of being consumed by it. When taken as a whole, it creates a thematic contrast between both halves of the album, and musically it presents the most evolved and intelligent version of the band yet. That, and there’s no better song to break in a new set of speakers with than the title track, “The Powers That B”.
3. Periphery – Juggernaut: Alpha and Omega
Periphery’s evolution as a band has been pretty interesting to watch. What once started as a one-man bedroom project has grown into a full-fledged creative force, with all six of its members having an equal, yet different, influence in the music it writes. And there’s no clearer example of that force than on Juggernaut, the band’s first concept album. Where once the band had a tendency to try and pack too many ideas into one song, here the songwriting is streamlined and purposeful, aiming to evoke a specific emotion or sound instead of showing off technical chops, while still retaining each member’s voice. There’s big pop choruses, bright electronics, crushing drop tuned 8 string riffs, progressive song structures, and brooding instrumentals that all combine to tell a single story with a range of emotion. It’s quite possibly the band’s best music yet, and having a concept behind it to dive into and puzzle out makes it even more rewarding to listen to over and over again.
4. Between the Buried and Me – Coma Ecliptic
BTBAM is a band that fell off for me, hard. After their landmark album Colors, each new album felt like another, lesser iteration of that sound, and it was losing steam fast. Possibly sensing that themselves, they took a left turn with their sound on Coma Ecliptic into entirely new territory. While their progressive metal elements will always be there, Coma Ecliptic finds itself rooted much more strongly in the prog music of the 70s, featuring just as many synth lead lines as guitar riffs. And on top of that, vocalist Tommy Rogers has finally stepped his game up to the point of being able to carry most of a song with his clean vocals, rather than his one note growls. It’s a refreshing change to hear the band’s music buoyed just as much by melodic vocals AND crushing growls, instead of just a moment or two of singing, and it’s a change that makes this new batch of songs instantly memorable and catchy. It’s the first time in years that a BTBAM album has truly surprised me, and what a good feeling it is to be surprised.
5. The Dear Hunter – Act IV: Rebirth in Reprise
Simply put, there’s no other band out there that makes music quite like The Dear Hunter does. Of a certain kin with Coheed and Cambria, the bulk of the music is conceptual, telling one long story across several albums. And after taking a break from that concept to explore other sounds, Rebirth in Reprise finds them taking all those things they’ve explored and using them to make an even better record. From the start, this album is lush with string arrangements, layered vocals, grand soundscapes, and sticky melodies. At their catchiest, they write huge pop tunes like Waves or King of Swords, and at their most progressive, they write sprawling epics like A Night On the Town. That term ‘epic’ may have been horribly misused at the turn of this decade, but The Dear Hunter is truly deserving of it, because they’re capable of telling a story just as much with the music as they do with the lyrics. If you want to hear something refreshing, layered, and gorgeous all at the same time, you want to give this album a spin.
6. Kendrick Lamar – To Pimp A Butterfly
While I’m on the subject of big changes in sound, I can’t leave out Kendrick. After showing the world his talent as a storyteller and a wordsmith on 2012’s Good Kid, Mad City, To Pimp a Butterfly shows him taking not just one step from there, but a couple dozen further. This album is built upon a hypnotic blend of free jazz, funk, and soul, completely sidestepping pretty much any sort of “banger” beat you’d find on most of 2015’s hip hop releases. The music is dense and huge in scope, and boasts an all star cast of musicians and producers, from Flying Lotus, George Clinton, Snoop Dogg, Thundercat, and Dr. Dre. But all that would be for nothing if it wasn’t backed up by great lyrics, and that’s where Kendrick truly shines. TPAB tackles a broad range of social, racial, personal and political issues, tying it all together with a poem that details his own struggles with fame, influence, and success, and thus grounding all these issues in the realities of his own life. Any way you look at it, it’s a modern classic.
7. Bring Me the Horizon – That’s the Spirit
As much as I hate to admit it, I think I’m officially a fan of BMTH. After 2013’s excellent Sempiternal, which found the band maturing into their metal sound while expanding it with melody and texture, 2015 finds the band deciding to take the world by storm – and somehow succeeding. That’s the Spirit is, by pretty much any definition, a pop rock album. Gone are the metal and deathcore influences of their past, as well as much of the screaming, too. Instead, Oli’s learned to sing, and the band’s learned not to rely on drop tuned chugs, and they end up defying all expectations you might have for the band that once penned “Pray for Plagues”. But while they may have traded much of their old sound for a much more polished, melodic, and even a little calculated one, the reason this album succeeds is because it still has heart. The lyrics tackle Oli’s issues with addiction and depression, and how embracing your problems and wearing them like armor can help you through to the other side. But even besides all that, these songs are just ridiculously catchy – just try getting “Throne” or “Happy Song” out of your head for the next day or two after hearing it.
8. Silversun Pickups – Better Nature
I first fell in love with Silversun Pickups because they were like a more subtle, more pretty version of Smashing Pumpkins. They brought the same sort of dreamy, fuzzed out riffs and airy vocals that even the Pumpkins hadn’t delivered in years, but without any of the cringey angst or hamfisted-ness they were capable of. But as time went on, they evolved away from that, dropping much of their guitars in favor of electronic elements and empty space, and it was a hard change for me to adjust to. But with their newest record, Better Nature, they’re found an equilibrium between guitars and electronics that leaves their trademark sound intact. Better Nature has more edge than its predecessor, Neck of the Woods, but it’s also prettier and mellower, sometimes opting for the obvious melodies and sometimes exploring a texture instead. And it’s all tied together with the band’s penchant for writing inherently ear-grabbing music, no matter which of those two things they’re doing, making this album a great next step for the band.
9. Coheed and Cambria – The Color Before the Sun
I mentioned Coheed earlier while talking about The Dear Hunter’s record, and here they are again. Coheed is another band that’s taken multiple albums to tell a sprawling story, but in their case, it was just as much to cover up their singer’s own insecurities as it was to actually tell that story. So this time around, Coheed switched things up and decided to drop the concept entirely for this album, and to put singer Claudio Sanchez’s real life at the front and center. The result is their most heartfelt, down to earth album yet, ditching much of the space opera sound they built their name on in favor of simpler, easier arrangements. Much of the music is bright and bouncy, evoking memories of their poppiest songs (“A Favor House Atlantic”, “The Suffering”) while keeping things feeling fresh and energetic. But the lyrics are a bit darker, detailing the conflicts and fears that come with reaching middle age and starting a family, yet eventually finding the security and meaning that comes from it. Who knew real life could be the most interesting story of all, huh?
10. Clutch – Psychic Warfare
You could call Clutch dad rock. Because they definitely are. But no other rock band in America does dad rock quite like Clutch does – while a lot of rock bands opt to drench their music in irony, Clutch doesn’t seem to know the meaning of the word. For years they’ve been pumping out tough, hard hitting, kick ass rock n’ roll music and they mean every damn note of it. Psychic Warfare is no different, as it finds Clutch picking up where they left off on Earth Rocker. Dropping most of their stoner rock influences, Clutch instead take us through a gritty southern-fried romp through tales of no good women, monsters from another world, and good old fashioned mind control. Clutch is one of those bands that you know exactly what you’re gonna get every time they put out new music, yet for some reason, it just never gets old.

Honorable Mentions

Tesseract – Polaris
Polaris shows original vocalist Dan Tompkins returning to the fold after a 3 year break. In the meantime, the band has honed their songwriting from the sometimes amorphous lumps of riffs present on their first and second albums into something more approachable, giving each song it’s own distinct character. Combine that with Dan’s growth as a vocalist and you get Polaris, an album that can be atmospheric, heavy, and soft without forcing any of it. My only real complaint is that it could’ve been a song or two longer, but hey, it is what it is.
Tricot – A N D
Tricot is one of the best rock bands out there right now, not just in their homeland of Japan, but in the world. Their music takes elements of math rock – that is, odd time signatures, unique chord voicings, and distinctive rhythms – and combines it with the best elements of J-Rock and J-Pop. The result is a band that can rock hard, lay on the technical guitar chops, and write hugely catchy choruses all in the same song, without ceding any ground to typical rock cliches. And did I mention they’re all girls?
The Armed – Untitled
There’s not a whole lot to say about The Armed. They’re ferociously heavy, they play at breakneck tempos, and they can somehow infuse melody into all that chaos. Untitled is only their second full-length record in 6 years, but it’s well worth the wait – from start to finish, there’s rarely a moment to breathe, with each successive song finding another way to punch you in the gut. And you can get punched in the gut totally free at thearmed.bandcamp.com.
Babymetal – Babymetal
This is an honorable mention because technically, it came out last year – it just wasn’t released in America until this year. Babymetal is the guilty pleasure of all guilty pleasures, slamming heavy metal and Japanese idol pop together without any regard for the consequences. It’s catchy, it’s fun, you can dance AND mosh to it, and you can do it without understanding a single damned word in the process. Just do what the Fox God says, man.
Good Tiger – A Head Full of Moonlight
Good Tiger was formed out of the ashes of The Safety Fire, an excellent progressive metal band that ended far too soon. Recruiting former Tesseract vocalist Elliot Coleman, they continue on The Safety Fire’s sound with a slight twist. Coleman brings a soulful, almost RnB sort of sound to the band’s knotty technical riffs, opening up interesting melodic doors for the band that weren’t once there. It’s a short listen at a little under 40 minutes, but as far as debut albums go, it’s packed with potential, and I can’t wait to hear more from them.
Deafheaven – New Bermuda
Deafheaven made their name on the unique blend of shoegaze and black metal they presented on 2013’s Sunbather, but they knew they couldn’t just recreate that album for the follow up. Instead, New Bermuda shifts things more towards a metalcore influence, dropping the long ambient passages and focusing more on hard hitting riffs and pure aggression. They still bring a lot of texture to the music, but New Bermuda just feels a lot different than its predecessor, with more varied vocals and more focus on keeping things uptempo and energetic.
Foo Fighters – Saint Cecilia EP
I’m actually pleasantly surprised by this EP. Sonic Highways was a huge letdown for me, since the band had a chance to incorporate new sounds and influences and wasted it instead. But on this new EP, instead of walking that bland middle of the road sound they walked on Sonic Highways, this EP sounds much more like the classic Foo Fighters stuff. And if I can’t see them grow as artists and try new things, I’ll at least take something that’s a shade on the classic sound I first fell in love with from them.

The Disappointments

Modest Mouse – Strangers to Ourselves
I’ve been a fan of Modest Mouse for about 6 years now. I love just about all of their albums, but in the time that I’ve been a fan, I’ve never seen them actually release something new. The band took a sort of almost-hiatus in the 8 years between We Were Dead… and this new release, and expectations were high. Instead, Strangers to Ourselves finds the band having not evolved in the slightest in that time, mailing in a collection of songs that sounds less like a complete album and more like just that – a collection of random songs. I really liked this album on my first few listens, but it just didn’t hold up, and in the end there were only a few really songs worth keeping on it (“The Ground Walks, With Time in a Box”, “Sugar Boats”, “Lampshades on Fire”, “The Tortoise and the Tourist”). Otherwise, Strangers is a very middle of the road album from a band that used to be very insistent on pushing their boundaries and making statements, and as such, it’s a let down.
Muse – Drones
Muse have been bad longer than they were good at this point. After a foray into cheesy Queen worship and overabundant keyboards in the past few years, Drones marked their return to the guitar based music of their roots. But even bringing guitars back can’t save them at this point: Drones finds the band succumbing to every arena rock cliche in the book, from overblown “epic” songs, obvious attempts at pop hits, recycled riffs, and godawful lyrics about Big Brother. Matt Bellamy has become the musical equivalent of a teenage kid typing a rant about the evil government on Facebook, and the rest of the band couldn’t seem to care less about stopping him – or ever writing a great song again.
Cloudkicker – Woum
I hate to be hard on Cloudkicker, because Ben Sharp is one of my favorite musicians, but Woum did nothing for me outside of being pleasant background music. The fun part about following Cloudkicker is that you never know what to expect from each new release, but once in a while that comes with a downside, too. Woum is a nice, warm listen, but it doesn’t have much in the way of actual songs or memorable melodies. I’m happy to hear artists explore new musical directions, but only as long as there’s great songs to back them up, and that just didn’t happen here.
Godspeed You! Black Emperor – Sweet, Asunder, and Other Distress
This is another album that I liked a lot initially. But the more I listened to it as a whole, the more its 20 minute drone midsection wore on me, until I eventually stopped listening to it altogether. The two main movements of the album stand right alongside the rest of the band’s material in terms of quality, but as a full piece of work, it unfortunately falls apart in the middle.
Chrvches – Leave a Trace
I liked Chrvches debut album. I wasn’t crazy about it, but it was a nice little slab of well-crafted synth pop that didn’t overstay its welcome. But the problem with their newest effort is, well…it’s the exact same thing. There’s pretty much no measurable artistic growth between the two albums, outside of maybe slightly glossier production on this new record. And since I’m already familiar with The Bones of What You Believe, I can’t really see myself taking the time to familiarize myself with another album of the same thing.

Non-2015 Releases I Discovered in 2015

Brand New
Man, I am so late on this band. But within the past two months, I absolutely fell in love with Deja Entendu, The Devil and God are Raging Inside Me, and Daisy. There’s a distinct core of sadness and anger that runs through their music that I’m an absolute sucker for, and Jesse Lacey is a brilliant lyricist. So, even though I’m over a decade late on discovering these guys, I’m so glad I did.
letlive.
letlive. is my other big discovery of the year. Their first album, Fake History, is one of the best heavy albums I’ve ever heard. They somehow manage to take these intense moments of pure aggression and combine them with poppy elements, social commentary, and even a bit of soul in Jason’s vocal delivery, and that makes for a really unique mix. On top of that, their live energy is unprecedented, with the band giving such intense performances night after night that you wonder how Jason hasn’t been killed yet.

Concerts

Circa Survive
This was my third time seeing Circa, but my first time seeing them as a full-fledged fan. I finally had all the albums, knew all the songs, and I had the extra cash to spend on the meet and greet and acoustic session to boot. I got to sit in a circle a few feet away from them while they performed an intimate 3 song acoustic set, before taking to the stage later on in the night and delivering on every level. They’re a band that truly loves their fans and truly loves making music, and it shows in everything they do.
Slash
While it’s been a long time since I was obsessed with Guns N’ Roses, I’ve made it a point to see as many of their members as I can. I finally got the chance to see Slash this May when he came to the Sherman theater, and it was actually a damn good show. I got to see the GNR hits that first sparked my love of music as well as newer songs from his current band, The Conspirators. It was great to touch base with my adolescence that way and revisit the music I once loved.
Death Grips
There are few words to describe the raw power of this show. After waiting over two years for the chance to see them, I was already beyond hyped for this show. And when I got there, the band knew how to play the crowd like a fiddle – instead of having any openers, they instead played the band’s side projects and a 40 minute noise remix of unreleased material, making everyone antsy and on edge. So, when they finally did take the stage, the crowd fucking EXPLODED into a throbbing mass of pure hype and rage. I’ve never been literally scared of getting trampled or crushed at a show before this night, but that’s how intense the crowd was. The band ran through nearly two hours of music in one long, (nearly, thanks to a laptop glitch) uninterrupted set in which each song seamlessly transitioned into the next. How Zach Hill can drum like he does for so long without a rest is beyond me, and the same goes for how long Stefan Burnett can bellow his lungs out and contort his body. All around, it’s one of the craziest, best shows I’ve ever been to, and probably ever will go to.
Tricot
I never, ever expected I’d get the chance to see Tricot. But the stars aligned and this October, they crossed the globe to do a short North America run, and I got to see them on the first show of that run in a tiny, intimate venue. It’s rare that you’re literally close to enough to lean on the stage all night, and man, does it make a show so much better. I was blown away by the level of energy the band had, and how much they jumped around despite the tiny stage. I could tell this was another band who truly loves what they do, giving their all into every performance, and it was made all the more special by the small venue I got to experience it in.
Rise Against
I actually went to this show solely to see letlive. as an opener. As I expected, letlive. played an intense, albeit short set, which saw Jason Butler climb into the balcony of the Sherman Theater and get a circle pit going (I’ve seen many opening bands try, but never succeed). And I was lucky enough to see them play a brand new song, too, from their upcoming album. But I wound up being really impressed by Rise Against – I was familiar with their music, and I enjoyed a few songs before that, but they put on a heartfelt and powerful enough show that convinced me I need to pay more attention them as a band. I didn’t expect the crowd to go so nuts for them, but they definitely did, because they managed to get the second circle pit of the night going, which I definitely didn’t expect from a punk band. It’s a great feeling to leave a show as a fan of a band you didn’t like before.
So that’s that. What I loved, what I liked, what I downright hated in 2015. If you’ve made it this far, well, congratulations, and I hope I turned you onto some new music! If you just scrolled all the way to the end, well I see you too fam, it’s okay. Till next year!

Coheed and Cambria – The Color Before the Sun [2015]

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Coheed and Cambria have been the crowning nerds of rock since their first album was released way back in 2002. Spanning 6 full-length albums, their music is woven with a grand sci-fi concept that runs the gamut between love and loss, epic space battles, and even the destruction of the universe itself. But all that was partially a front – lead singer and songwriter Claudio Sanchez had been afraid to sing about himself, and used this concept as a way to veil his feelings without putting himself fully out there. But now, after a series of personal shake ups, he’s finally ready to take the band away from the fiction and into the real. Fans were worried what this band would be without the concept, and not surprisingly – it’s what’s kept a lot of them around or caught their interest in the first place.

So it’s funny that this album isn’t quite so different after all. Opening track “Island” starts with something akin to their normal intro tracks, with a sample of a subway announcement and the grinding rails of a train coming to a halt, before launching into Coheed’s signature muscular pop-rock sound. The song is a deceptive one – with its airy chorus and bouncing rhythm, it still sounds exactly like one of Coheed’s poppier tunes. But a closer listen reveals that instead of grand space battleships, Claudio is instead singing about being trapped in a big city and the stagnation that can come from it. There’s no trick or disguise to it, simply his feelings as they are. “Island” winds up setting the tone for much of the album, both lyrically and stylistically. Coheed has traded most of their progressive tendencies for sheer pop songwriting on this album, simplifying the riffs and leads for the catchiest results. For most bands, that would seem like a dishonest attempt at gunning for a hit and cashing in.

But there’s a good reason for this album to sound so upbeat, and that’s because in the past few years, Claudio has become a father for the first time. So instead of angst at former girlfriends or the damage done by his family and friends’ drug addictions, the focus is on the future. Sure, there’s still some themes of identity crisis (“Eraser”) and depression (“Colors” and “Ghost”), but the overall feel here is much happier. Tracks like “Here to Mars” and “Atlas” are nothing but pure love and joy, “You’ve Got Spirit, Kid” is a tongue in cheek self-pep talk, and “Peace to the Mountain” is a beautiful acoustic track about acceptance and change. Given all that, it makes sense that these songs aren’t crammed to the brim with technical riffs or crushing drum parts, and the band’s always had a strong pop sensibility, anyway. And despite the overriding upbeat mood of most of the album, there’s still plenty of variety to be found. “Colors” is a moving slow tune that lingers and evokes a strong sense of melancholy, but without being totally defeated. “The Audience” is a slab of classic Coheed prog, boasting a Tool-esque riff and plenty of fuzz, as well as breaking out of the verse-chorus-verse structure most of the album sticks to. And the aforementioned “Atlas” almost sounds like it could fit on the band’s first album, Second Stage Turbine Blade, because of it’s driving rhythm, length, and emotional vocals.

With all that said, it’s not a perfect album. “Young Love” is one of the blandest tracks the band has ever written, and as much as I like the track by itself, “You’ve Got Spirit, Kid” doesn’t add much to an album already stuffed with big pop hooks. And part of me is a little disappointed that they didn’t push any of their musical boundaries on this album, because Coheed’s reinvention from album to album has always been one of their best qualities. The tone of the album is different, sure, but it’s still comprised of the same parts the band’s always used (in fact, maybe less of them – a lot of the band’s weirder tendencies are completely missing, and the album feels very pared down as a result). But then again, given the band’s discography, there’s not much they haven’t done already, anyway, so it’s hard to blame them.

So maybe it’s not the band’s most essential album. But the result is an album that’s absolutely refreshing to hear in its simplicity and emotional honesty, and easy to revel in its large hooks and catchy melodies. It’s a hard album to hate unless you’re some absolute early-Coheed diehard, and it might even serve as a more palatable gateway album for a lot of new fans, too. So whether you’re a long time fan or someone just checking this band out, The Color Before the Sun is definitely worth the time.

Tricot w/ The Joint Chiefs of Math and Marietta – Johnny Brenda’s, October 12th, 2015

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This week I got the opportunity to see a band I thought I’d never get the chance to. Hailing from Japan, Tricot is an equally mathy, punky, and poppy band with no pretensions or gimmicks. I’ve been a fan since shortly after the release of their debut album “T H E” in 2013, and only became more of one after their latest album, “AND” was released this March. But to think that they’d come to America, with the obvious language barrier and the country’s clear aversion to rock, well that was nothing but a pipe dream. So I was shocked when a little over a month ago when they announced that, yes, they actually WERE coming to America (even naming the tour after the Japanese word for “Finally” or “At last”), and proceeded to snatch a ticket. I’d never heard of the venue and it was over two hours away, but I didn’t give a shit – I was going.

And went I did. I got to the venue and immediately realized that it was perfect – the room was small, there was a bar not ten feet away, and I could literally lean on the stage if I wanted to. And I did, because it was going to be a long two bands and three hours before Tricot took the stage. I say “long” because I was skeptical as hell about the openers, at least to begin with. A local emo band and a noise rock duo seemed like a mismatch for a band like Tricot, but hell, I’ve sat through far worse in service of seeing far better before. I was wrong again, though. The Joint Chiefs of Math were first on stage, and they brought a chaotic blend of noise and instrumental rock, sounding like a much harsher version of Hella and pulling off a plethora of live effects and loops in order to deliver it. As a fan of stuff like Death Grips, Oneohtrix Point Never, and various post rock bands, this was totally hitting the mark for me, and they definitely gained me as a fan by the end of their set. Following them was a local favorite in the shape of Marietta, a band clearly influenced by the likes of early Modest Mouse and American Football. And while they weren’t really up my alley stylistically, they put on a hell of a show by mixing elements of alternative, emo, and even shades of pop punk with a ton of energy and humor, and I could truly tell that they had a fair few fans crammed into this little room.

After seeing the crowd’s reaction to Marietta, I started to have my doubts about just how many people had shown up specifically for Tricot. But my doubts were misplaced, because as soon as they launched into their first song the crowd went off. Almost every head and body was nodding and jumping around, and the band was clearly feeding off of that energy. While the girls might seem diminutive in stature, they certainly make up for it in terms of power – lead guitarist Motifour Kida skipped and danced around, bassist Hiromi Hirohiro hopped like a live wire, and touring (or permanent?) drummer Miyoko Yamaguchi absolutely pounded the shit out of her kit. And while vocalist Ikkyu Nakajima was more cemented to her microphone and guitar out of obvious necessity, she still took a few opportunities to ditch the guitar and break into a dance or even jump into the crowd. This sort of thing can be hard for mathy, intricate bands like Tricot to manage, with some choosing to sacrifice musical perfection for pure energy. But Tricot made it look easy, striking the balance between tight playing and pure fun, and at times even sounding better than the record due to Hiromi’s boosted bass volume. They also had a knack for picking a setlist, too. Among obvious choices like “Pool”, “Oyasumi”, “E”, and “Ochansensu-Su”, they also played less familiar cuts like “Bakuretsu Panie-san”, “Niwa”, and their newest song “Pork Ginger”. As someone who’s been a fan for a while now, it was great to see the songs that first hooked me alongside the ones that I came to love later on, and even being introduced to a handful of songs I wasn’t familiar with already.

All in all, Tricot’s first American show ever was a hell of a ride. Even though it was just shy of the hour mark, the band played with true passion and energy, cramming in as much music and power as possible in the short time they had. No matter what nationality or gender, it’s rare to come across a band that ticks all the boxes in the way this one does, blending technicality, power, and sticky melodies with the conviction and performance to back it up. If you get the chance to see them on this tour, I absolutely suggest that you do, because there’s no guarantee they’ll be back to the States any time soon. They’re well worth the time and money.

The Joint Chiefs of Math: https://thejointchiefsofmath.bandcamp.com/

Marietta: https://whereismarietta.bandcamp.com/

Tricot’s remaining dates (courtesy of Reddit user androph):

10/16/2015〜 Bar Le Ritz PDB/Montreal, QC

10/17/2015〜 Lee’s Palace/Toronto, ON

10/18/2015 〜 Majestic Café/Detroit, MI

10/20/2015 〜 Empty Bottle/Chicago, IL $

10/21/2015 〜 The End/Nashville, TN

10/23/2015〜 Rubber Gloves Rehearsal Studios/Denton, TX

10/24/2015 〜 Black Barbie/Houston, TX

10/25/2015 〜 Hi-Tones/San Antonio, TX

10/27/2015 〜 Soda Bar/San Diego, CA

10/28/2015 〜 DNA Lounge/San Francisco, CA

10/28/2015 〜 Bootleg Theater/ Los Angeles, CA

Cloudkicker – Let Yourself Be Huge [2011]

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Let Yourself Be Huge was a big step for Cloudkicker when it was first released in 2011. Up to that point, Ben Sharp had built his audience with his own brand of djent-tinged progressive metal, relying on heavy guitars, technical leads, and shifting time signatures to create his sound. However, after Beacons, he was ready to step outside of his comfort zone, and this EP is the result of that.

Entirely devoid of anything that might be deemed “heavy”, Let Yourself Be Huge is largely built around acoustic and clean guitars, light drum work, and moodiness. While the playing still sounds distinctly like Cloudkicker, the timbre is different, and the overall tone of the project feels like it’s the soundtrack to the aftermath of some huge disaster (which is fitting – his previous release, Beacons, took its song titles from the last sentence of various aircrash black box recordings). It’s peaceful yet droning, melancholy but not downtrodden, and it doesn’t feel the need to suddenly and dramatically shift gears like his prior work. In fact, much of the material here is pared down relentlessly, which few tracks bothering to even crack the two minute mark. Instead of creating full songs, the music here instead sounds like little vignettes, painting small little evocative pictures instead of grandiose statements. And despite the EP’s short length, the mood created by it is so powerful and so consistent that it almost feels like a complete album anyway. Let Yourself Be Huge may be short, but it’s a beautiful piece of music, and one of the best collections of music Ben Sharp has put together to date.

As always, you can download Cloudkicker’s music for free over at cloudkickermusic.com.

Bring Me the Horizon release new song & video, “Throne”

I used to think Bring Me the Horizon were a pretty shitty band. I did dig the song “Pray for Plagues”, but I thought the rest of the album it hailed from was repetitive, breakdown-filled deathcore. I had some more contact with their later releases after that, but for me they slowly got lumped into that “scene bands teenage girls” like category, and I just couldn’t take them seriously.

Then, last year, I heard they were working with Terry Date (Deftones, Soundgarden, Incubus, The Fall of Troy), one of my favorite producers, and I just couldn’t help but give them one more shot. What I found was Sempiternal, an album which found the band miles away from their deathcore roots, instead writing lush, textured, melodic songs with genuinely emotional vocals. And now they’re gearing up to release the follow-up to that album, That’s The Spirit, due out on September 11th. Part of that process is this new song and video, “Throne”.

Like the album’s first single, “Happy Song”, “Throne” finds the band picking up where Sempiternal left off. They’ve retained the dense, layered keyboard and guitar sound they had on that album, and “Throne” in particular shows off the band’s new found penchant for electronics. It’s a surging, bubbling, and exciting track, even if it does breathe a tad too much of the same air Linkin Park has in recent years. But the biggest change on this song is Oli Syke’s vocals. On Sempiternal he was still trying to find his clean voice, often times still sticking in the middle ground between screamed and sung registers. But “Throne” shows that Oli can now be considered a legitimate singer, as the first few seconds show a side of him fans have never heard before. And now he can go back and forth between raspy singing and shouting, whispered coos, and screams as the songs call for it, giving the band a whole new dimension.

Bring Me the Horizon have been catching tons of shit for this new sound of theirs, but I honestly can’t help but applaud them for it. They’ve gone from writing pretty run-of-the-mill deathcore to growing as songwriters, trying new sounds and textures and moods. Yeah, they sound pretty poppy at times, but at heart I’ve always been a sucker for a good song. And coming from such a heavy background, it’s poppy music that’s informed by heavy music, giving it a different feel entirely. I can’t help but compare the leap to In Flames’ album Reroute to Remain, where they famously shifted their sound from classic melodic death metal into something more modern and loose. This is how bands stay relevant and interesting – they take leaps, and sometimes the fans hate them, but it keeps the actual humans in the band that make the music stay happy and inspired. And happy and inspired musicians end up creating inspired music, so even if they’ve switched genres, the music they’re making is probably still damn good. You just gotta give it a chance.