Fall Out Boy's Latest Holds Your Attention Nicely

The reliable Fall Out Boy has built its cred on big production numbers like "This Ain't A Scene, It's An Arms Race" and "Thnks fr th Mmrs" so to hear them come out with a Dio De Los Muertos spicy bonbon like the brand new "Hold Me Tight Or Don't" strikes me as being the ultimate change-up. Of course the usual Fall Out Boy elements are represented. Vocalist Patrick Stumpf's vocals come in loud and clear and his rhythm guitar playing benefits the effort greatly. Drummer Andy Hurley proves he's right at home with both programmed or organic drum beats. He really puts his best foot forward kicking out attitude wherever and however he can. I'm digging the whistle opening at the intro. It showcases the FOB sass we've come to know and love. The chorus never fails to be infectious. It feels like an old friend who's stopped in for a visit. Amidst the Dio de los Muertos dancers, Pete vows this isn't how the story ends, that he and his lady were more confidants than friends. Is it possible to be in a gay mood with Day of the Dead spookiness looming in the background? Appears only Fall Out Boy could make that dream a reality. Pete Wentz lays down the law on bass. Kind of the smooth undercurrent to this ritmo caliente. When the sound gets reduced to clap along fun you could almost hear the sultry Sonora breeze lilting in the dusk air. You can't beat the pacing because it's kicking into high gear before you have a chance to freshen up your margarita glass. "Hold Me Tight Or Don't" thrives when it opts to stay in fourth gear. You want to party well into the wee hours of the morning. This song's D chord was an excellent choice by the powers that be, be they label brass or FOB itself. Again it's an element that begs for somebody to get a fiesta going...pronto. Lyrically my choice for best line would have to be "And when your stitch comes loose I want to sleep on every piece of fuzz that comes out and stuffing that comes out of you." Highly romantic, yes? Anyway Fall Out Boy delivers high quality steam while staying true to its schoolboy swagger. "Hold Me Tight Or Don't merits much more than a listen in passing. Check it out as part of the M A N I A album due out January 19th.

Bastille Proves That Sometimes Madness Pays Off

Wisely calibrated intensity marks the return of the British band you know to be Bastille with what to these ears is one of their strongest efforts to date. "World Gone Mad" pulls out all of the melodramatic stops but because it's not crammed down our throats the effectiveness resounds in spades. Vocalist Dan Smith serves as our guide through the urban carnage using his beautiful pipes as kind of a beacon in uncertain times. He has the talent to cut through the muck which makes us all the wiser for it. "World Gone Mad" starts off in an acoustic vein, sneaking up on us like a cat burglar in the dead of night. The beat sways along confidently as Mr. Smith elaborates on how our collective journey didn't get us to the destination we were hoping for. Essentially the mad world has been divided into two halves, one half not even inclined to care how society's fabric is unraveling. Will Farquarson's acoustic guitar makes Dan's caustic commentary go down smoother. At the 1:30 mark, Chris "Woody" Wood enters the fray on drums. Again, nothing overly flashy to throw in, simply efficient timekeeping that lends gravitas to this outing. "World Gone Mad" stays in the same warm color wheel color throughout and so while the messages may be relentless the beat lends you a hand through the maze. Kyle Simmons ably lends his guitar to the mix and again the power of the song benefits. Can't even begin to do justice to the earwig inducing chorus. Though it may be one of the absolute last rock efforts of 2017, Bastille saved its best for last. The video also ratchets up the drama level to a noticeable degree. A stage has been set and we're glued to our seats watching the drama unfold. "World Gone Mad" doesn't overstay its welcome, clocking in on the north side of 3 minutes 37 seconds. You want that in your rugged troubadours, tell us something and be quick about it. The song lays itself out in three different parts: First comes acoustic followed by the second verse's drum kicking into gear. At the climax Bastille goes all symphonic convergence on us. It's a masterstroke of genius. Bastille doesn't know how to make a boring song. "A World Gone Mad" deserves mention in the pantheon of Bastille classics.

Through Fire Ain't Lying

Through Fire knows how to spread out some juicy hard rock riffs as is demonstrated on the band's new single "Leave You Where You Lie" in which lead vocalist Grant Joshua Kendrick lays down the law for a woman he's trying to kick to the curb. He must leave her essentially for dead, the state the relationship is now reduced to. Grant Brooks piles on the drumming with brute force. The results are dynamic and well worth the trouble of listening. Power drumming thy name is Through Fire. Jesse Sant brings the thunder on bass and that supplies a rich undercurrent for Grant's vocals to slide under. It's true teamwork on the highest level. Kyle LeBlanc drops down his stellar bass playing also. Throw that in the mix and what emerges is a fine broth of sound unmatched by no one. Justin McCain offers a real winner on lead guitar and backup vocals. Just exemplary work. In the lyric department Grant is one mad hombre. He fires off such bon mots as: "Tell me again why I should give a damn. Tell me again why I should even care."All the anger you left behind. All the hatred I feel inside. For in the aftermath of the love that died (love that died) keep digging your grave, keep digging your grave!" Not a resolved issue to be sure. He piles that on with the add on of "Take your broken promises, and don't come back again. It's time to say goodbye. I'm gonna leave you where you lie. Take your broken promises, every one you ever said. It's time to say goodbye, I'm gonna leave you where you lie, lie. I gonna leave you where you lie." The ashes fall, burn it all down until there's nothing left around." Total destruction no more no less. Nary an apology in that tirade and why should there be. The man's on a real roll so why let him take the passive way out. This beat's super crunchy beyond belief and what enjoyment gets derived from it. Such angst rocking across the frets. Real winning formula for sure. Nobody's getting off that easy around here. Through Fire is that bolt out of the blue we needed to keep the 21st century rocking along. Each band member lends belly fire to the proceedings and it shows. When they come together as a unit you're curious about what they can whip up next. "Where You Lie" sits well as a fang bearing rock condemnation of the highest order.

Bleachers Reminisces Fondly About The Old Days

Bleachers, the stage name for songwriter and record producer Jack Antonoff, knows his way around a memorable hook. He employs it liberally in the nostalgia heavy track "I Miss Those Days". It doesn't stray far from the chord progressions circle it lays claim to but at least Jack has the good sense to pick a circle that will put smiles on the faces of many a consumer since you could easily find yourself hearing this song on a beach somewhere in LA. The video has an animated effect to it that has a Wallace & Grommit sensibility to it that should bring knowing grins to many a face familiar with that twosome of oddballs. It's not very involved animation but it gets the point across beautifully. Just a man on a bench watching the world go by, not much of an expression on his face. Random imagery parades by but not a crack in his facade is to be seen. It's a blissful little number that asks nothing more than time to wax eloquent on the glory days. Bleachers has a winning way about it that you love a little more each time you hear it. If you're depressed "I Miss Those Days" can be the tonic to end all tonics. If you're already in a good mood this song should keep you there. Take heart, Bleachers feels your pain. The lyric sheet confirms the deep sigh involved in this groove "And everyone is changing, storefronts rearranging." Such is life, a constant shifting of molecules forming new horizons. Thanks be to Bleachers for lightening the mood just a hair. An aura pervades this project which lends no small mystery to the whole thing. Bleachers succeeds in saying what many others are thinking...that the good old days had their moments, many of them exemplary. Of course this viewpoint has a certain rose colored glasses skew to it but, given the violent times we're negotiating what harm can there be in that? It's a prime stress buster that eases blood pressure in spades. "I Miss Those Days" shouldn't be missed by anyone craving some solace.

Seether Does a Bang Up Job in Betrayal

Hooray for Seether for putting four on thw floor anarchy to work for the latest single "Betray and Degrade". You know the guys aren't playing with a full deck judging from the insane smile on guitarist/lead vocalist Shaun Brown's face. Someone needs to get that man to an insane asylum ASAP. On the plus side it works wonders for the fire and brimstone coming from the guitar. Are you feeling the juice from his instrument. It's as if all the layers of his psyche were pulled back to reveal a hot molten core. That intensity carries over into his performance vocally. The lyrics scream bloody vengeance, a dare for you and I to just try and stop him from burning the house down. The drummer in this search and destroy mission, one John Humphrey, takes the mid speed route and hones it to perfection. It sidles up to the vocals with that come hither glance. Backing guitarist Dale Stewart inserts himself into the mix with astounding results. It's meaty enough to want to wrap both hands around it sandwich style. On the whole Seether lets loose from every angle imaginable and scores with haymaker after haymaker. Let's glance at the lyric sheet shall we? Seems to underscore the intense psychic pain Shaun Brown is feeling, coupled with boatloads of tension. Shaun's a bit of a rub-it-in sort of guy in that he savors how emptiness defines the person he's mad at. Not only that he admires how the shallowness defines this person as well. Moving on, when Seether finds their groove there's no turning back. Edited chainsaw style the sound goes right to your skull and buries the saw deeper and deeper. The nightmare imagery runs ice cold, like something out of a slasher movie. The eerie feeling is unshakable, but don't let that stop you from inhaling the brutal brilliance at work here. Plenty to brag about for sure. Seether does a great job keeping the chord progressions lively and provocative. Not two words I'd associate with Seether but that's rock and roll for you. On the whole "Betray and Degrade" plays it down and dirty and scores big time.

Asking Alexandria Shows You Where It Went

Much turbo-charged action hovers around British rockers Asking Alexandria and their latest track "Where Did It Go?" The musicianship soars on so many levels. Vocally Ben Bruce doesn't lose his intensity one iota. Drummer James Cassells hammers away like a demon possessed and the results are striking at the least, nuclear at best. It's a swift rock 'n' roll ride that never slows up to ask is everyone still breathing? Cameron Liddell strikes lethal chords on guitar. Meanwhile Sam Bettley gives his bass a thorough working. Mile a minute pacing is the ace in this band's hole. Lyrically Ben establishes his credibility right from the start. I point to lines like "There's only one throne and I'm not done with it, still shitting, sleeping, eating, breathing it. Ten years and you're still standing on my every word with baited breath. After a decade pushing boundaries, proving impossible possible, making something from nothing, creating something from nothing, creating "larger than life". Narcissistic much? Anyway, "Where Did It Go?" is an absolute blast to behold. It's got firepower in spades and isn't afraid to show it off. There's also a spookiness factor behind the whole thing when the chord shifts occur. That highlights Ben's prowess to the fullest. You get the feeling the ground beneath you is unsteady and will shift at any moment. The decade long slog has worked wonders on this band. Tight riffs enable good things to come to pass. Shifting auras are all over this baby. What marvelous hell they're making. This has the potential to incite newbies and die-hard supporters alike. How they pack so much combustion into one 3 minutes 15 second package boggles my mind but they make it work. Asking Alexandria has it right where it needs to be.

Weezer Gives Us Something To Be Happy About

Weezer was never a band to skimp on humor quotient as has been proven by the likes of the immortal "Hash Pipe" which sounds as great today as it did back in 2001. On deck from the boys now is "Happy Hour", a delectable nugget about the joys of happy hour for taking the edge off of sad days. Every aspect of the song registers high on the cheerful meter. Rivers Cuomo has vocals that sound laid back and easy as one would want to be at your favorite watering hole down the street. Patrick Wilson turns in solid work behind the drum kit and that carries through during each note of the song. You have a wine spritzer in your hands. Your mood color is in the key of mellow. Brian Bell's guitars really sing out in a big way. It's breezy like a day sipping sex on the beach. Not only that the video is chock full of humor and striking visuals. The chomping teeth come instantly to mind. This gallery of images fits hand in glove with Weezer's party band aesthetic. Just a bunch of random images meant to pass the time in good spirits. Plenty of upbeat grooves to go around. That's to the credit of Weezer to keep things loose. Scott Shriner's bass playing serves the band in good stead. It's beefy and muscular for prime consumption. Turning to the lyrics sheet Rivers drives home his love for the cocktail hour backdrop. Austinites should well appreciate the reference to its favorite son Stevie Ray Vaughan through the words "I'm like Stevie Ray Vaughan on the stage, high on music, teeth grindin' sweatin' under the lights." The next cultural reference goes to Monty Python..."But then my boss calls and she's crushin' me with a 20 ton weight, just like in Monty Python, somebody left on the sink, it's still running. My eyes are gonna overflow. How can you dislike a song that makes reference to Ponce de Leon for crying out loud. You know...Mr. Fountain of Youth guy? Again hats off to Weezer for inserting "Happy Hour" with tongue in cheek humor meant to give its fans both a contact high and a delicious hangover.The way the drums mix in with other instruments makes for the cherry on top of the sundae. Also a cute touch in the lyrics department is "Maybe I'll meet a scientist in sweatpants and a hair tie. We'll conversate about rare birds and MIDI keyboards." Sounds like a wild night in the bar. How you miss those MIDI keyboards. You won't want to miss "Happy Hour". It's all you ever wanted to know about Weezer and more.

The Struts Put Out a Great One Night Stand

Channeling their inner Queen, The Struts come to the table with "One Night Stand" a rock gem that's tailor made to get the old blood pumping. Vocalist Luke Spiller sounds right at home in Freddie Mercury's voice box. His pipes smoke like a vintage pack of Pall Malls. The rest of the group doesn't fare too badly either. Gethin Davies proves his mastery with the drums. Gives "One Night Stand" that seedy feel befitting a sex-soaked song of this caliber. Guitarist Adam Slack holds his own too. Check out the bridge if you have any doubts that he's the man. Bassist Jed Elliott punches in a workmanlike effort that cannot be denied. Those theatrical touches hearken back to "Killer Queen" era Queen and, according to Wikipedia Queen is one of the band's prime influences. Poetry seems to flip off of his fingertips like magic as can be evidenced by the likes of, "Like an eagle in the sky you can't control it. There's a magic in my eyes and I can't stop it burning down on the edge of tonight cause tomorrow we'll be owning the world. Boisterous Luke adds in "All my scars, I've got to show them. There's a fire in my heart." Included also is "You know like pure white gold I'll give you one night only for your eyes only. If entertainment is what you want then honey I'm the best! I know that we're together for all your pleasure forever, forever, forever. This is how we burn. Really potent sexuality kicks this baby into fifth gear. I really do like the theatrics behind the song. Hearkens back to the 1970s glory years of ELO and Led Zeppelin. Mr. Mercury would have approved tremendously. It's the sort of song you could easily pop open a cold one with. Can you feel the Def Leppard pop friendly influences? The overall sound reaches for the stratosphere and strikes gold. "One Night Stand" revels in its excesses. As it turns the corner you can definitely make out a "Bohemian Rhapsody" go for broke mindset here. It works well on so many levels it's not even funny. How many of you believe this song would go over well in front of a packed stadium? I can also hear the bombast from the My Chemical Romance influence. Ballsy, on an epic voyage you won't soon forget. The Struts have a sonic nerve they've tapped into and it works perfectly. "One Night Stand" deserves a multi night engagement on your iPod.

Paramore Really Sells Fake Happy

Innocently enough Paramore's new "Fake Happy" starts out with a dreamy acoustic guitar sequence courtesy of Taylor York. So, is that all there is? Well, not exactly. In rushes vocalist/girl power ass kicker Hayley Williams plugging in that feisty keyboard melodrama we know she can hurl at us with the best of them. Cue Zac Farro's peppy drum kit alongside Taylor York's outstanding rhythm guitar and the table is officially set for Hayley to peel back the masks of everyone in her vicinity who's playing let's pretend complete with phony smiles and "Yeah, I'm alright bluster. Since the days of "Misery Business" Hayley Williams has never been one to suffer fools gladly, as is clearly the case here. She flat out revels in taunting the posers with how good she is at selling artificial merry via the words, "I love making you believe what you get is what you see. But I'm so fake happy. I feel so fake happy. And I bet everybody here is just as insincere. We're all so fake happy and I know fake happy. The mind blowing fake chorus continues in this vein via: "If I smile with my teeth. Bet you believe me. If I smile with my teeth I bet I believe me. Hayley's out and about sporting those mascara teeth begging for pity from anybody who'll give her a taste. It's like she's walking over all pretenders to get to the throne which is rightfully hers. The beat Paramore craft comes across as pretty sunny for something aimed at the fellow Americans who have their fake smiles and fake business suits to match. Somehow Hayley makes this formula work in spades for her. That keyboard of hers becomes a regular visitor and "Fake Happy" turns out a richer song because of it. You could even dance to it but Hayley would likely give you a dirty sneer for your troubles. Taylor's drumming isn't too over the top so Hayley can weave her magic beneath it. Nice to see Paramore's weathered its many line-up alterations to emerge a stronger band. We can hope added stability is in the band's future. One thing's for sure "Fake Happy" has left me with a big smile on my face.

No Lie...Royal Blood Sure Can Crank Out a Guitar Jam

Royal Blood knows how to put guitar front and center as is demonstrated on the Brit group's brand new "I Only Lie When I Love You" The rhythms are very easy to follow throughout the song. Mike Kerr, the group's bass guitarist and vocalist delivers on some pretty potent riffs. His singing moves stride for stride with the bass for a knockout punch that goes a long way towards establishing Royal Blood as a band with a promising future in front of it. Drummer Ben Thatcher's percussion abilities only up the wow factor that much higher. Thank you Royal Blood for keeping the melody easy to follow so no one gets lost in the shuffle. It's an under 3 minute burst of white hot energy that seers into your brain with the venom of a python. Lyrically you won't be scratching your head much either. Try this on for size..."Go ahead muck about. I got my conscience twisted. Pull your hair. Make me shout. It's just that you insisted I was good for nothing like you were on to something. Sounds like rough foreplay to me. This particular verse hints at physical abuse..."I only lie when I love you. I only crawl when I hit the ground. You only cry when I love you. I only lie when I hit the ground." This is a relationship destined for either divorce court or the penitentiary. It appears like rough sledding either way. The stripped down feeling of the song gives it a true he-man swagger that will go over well with rock fans of all stripes and persuasions. Mike's voice is equally hard edged. It's knocked down a few quality brews down at the local pub and sports the king-sized hangovers to prove it. In the digital age we live in something lo tech is greatly appreciated. Brings us back to our caveman roots. The video is equally dedicated to not going overboard on the frills. Only black and white dot the color landscape but it's executed in a fashion where the instruments fill in the blanks. There's not much chord variety to be had. Don't consider that a failing though. Like I said, getting lost in the thicket isn't any fun so why bother? Royal Blood shows some royal sweat here and it's for that reason that it's no lie that "I Only Lie When I Love You" smokes with the best of them.

MGMT Sounds Great In The Darkness

Would you expect anything but macabre underpinnings from MGMT, a band whose video for "Kids" likely scared quite a few kids back in the day. Welcome to the two man band's new undertaking "Little Dark Age", which lays on gloom of a dimension that only goth kings The Cure could match. That said this little number ratchets up the curiosity factor by a wide margin. Andrew VanWyngarden and Benjamin Goldwasser lay down the eerie keyboards like there was a shortage declared somewhere. It's clearly capable of placing goosebumps on the back of one's neck. Most impressive though is how they manage to work a slinky beat in the middle of all that creepiness, Halloween appropriate no less. Andrew's vocals are satisfying in how glum they are. His hairstyle in the video makes us think we've engaged in time travel back to the '80s. The whole Cure aesthetic certainly is front and center. The sunshine can take a break in MGMT's world. Nothing but dead flowers here. As for the lyrics well they're real downers to be sure. Can you find any sort of uplift in "Breathing in the dark, lying on its side, the ruins of the day. painted with a scar. And the more I straighten out the less it wants to try. The feelings start to rot, one wink at a time." I know I feel loads better about my life following that bit of dark poetry. MGMT has the eccentricity thing down to a science. The magic works well in this instance. You tap into your voyeuristic tendencies no doubt. Plenty of minor chords milling about to keep your upset stomach alive and well. MGMT doesn't use the same canvas to paint with as the rest of us. It tends to like travelling cobblestone pocked roads that offer no real mercy for anyone who dares consider making tracks on them. I mentioned "Kids" earlier. That song had more of a giddy pace to it. By comparison "My Little Dark Age" glides across the melancholy on ice skates. Chord progressions are noticeable but don't run willy nilly over the main melody which helps you appreciate the ride you're taking on a higher level. The visuals truly stand out in comparison to all the other product flooding the marketplace. Lots of dark undertones on the color wheel. In my estimation the first verse is the easiest to make sense of. I suppose you could make a translation out of "Picking through the cards knowing what's nearby. The carvings on the face say they find it hard and the engine's failed again all limits of disguise. The humor's not the same coming from denial." One line really stands out..."I grieve in stereo." That line'a golden. In fact I'll go ahead and declare it best lyric of 2017. If you know how one grieves in stereo give me a dingle. We could be making science history here. What I like most about "My Little Dark Age" is how the synths burrow deep into your brain and won't release their grip on its fear center. Versatility thy name is MGMT. Am totally loving the bat on the mike stand. And candlesticks straight from the set of Dark Shadows, a nice plus. In short "Little Dark Age" chills the spine in the right places, making for a dazzling listening experience.

Ed Sheeran Has Perfect Pitch

My fellow blog followers, here now, if it hasn't been officially declared as such already, is the High School Prom and Wedding Night Dance Tune of 2018...the extremely lovable Ed Sheeran delighting us with the first cut from his Billboard Magazine Top 10 album, "Divide". The title essentially says it all. We humans can't claim to be perfect but "Perfect" the song is about as close to an ideal puppy dog eyed romance as there's bound to be. I can see why Elton John is one of his influences. "Perfect" is the song Elton wishes he wrote. It's a lavish production number full of his prime acoustic guitar playing alongside orchestral decoration not to mention timely percussion. The venerable news man Charlie Rose had Ed on his show recently. Is there any question why this meeting occurred? Never once has Ed had any doubts about his life direction either personally or professionally. He's got swoon worthy pipes which will be ringing up sales until I'm old enough and God willing lucid enough to collect Social Security. "Perfect" ought to have the Valentine's Day market covered, too. If "Perfect" was a tract of land it would be a palatial estate with multiple columns out front. It flows nice and easy so those stolen kisses will be easy to pick off. Mr. Sheeran is one of the most heartfelt musicians working the industry today. The crop of red haie alone makes you want to make like Grandma and pinch his cheeks. He's one of those rare souls who has given himself the opportunity to stay grounded as his career unfolds and inevitably evolves. The accompanying video defines joyful experience. The pile of books makes for a winning touch. Lyric-wise well...breathe it in for yourself..."I found a love for me. Darling, just dive right in and follow my lead. Well, I found a girl, beautiful and sweet. Oh, I never knew you were the someone waiting for me. Here's your shot at Kleenex to dab away the happy tears. Every single verse from here on in only ups the Niagara Falls factor. He's found this girl against all odds who he wants to carry his children for him. The third verse screams cellphone photograph moment..."Baby, I'm dancing in the dark with you between my arms, barefoot on the grass listening to our favourite song. When you said you looked a mess I whispered underneath my breath but you heard it, darling you look perfect tonight. I'm playing for the same masculine team and I'd agree to date him based on this song. I can feel him taking me in his arms and embracing only me, locking out the outside world. The focus starts out on his guitar but the bells and whistles follow soon after. He blends the two styles flawlessly and what loose stitching you do see only adds to the allure. "Perfect" adds nicely to a fully budding career that likely won't stop until he's comfortably ensconced in a local nursing home or sails off to Heaven while reclining in front of the telly, pipe in his lap.

Knuckle Puck Has Gone Crazy With Its Melodic Capabilities

Out of Chicago, Illinois, Knuckle Puck unearths quite an impressive soup in "Gone". This outfit puts together a seamless mix of audio excitement alongside Joe Taylor's unobstructed vocal range. John Siorek takes credit for most of the backbone here. He's not lazy in the least. Each beat lands flush like it's supposed to. Kevin Maida goes heavy into the trenches on lead guitar. Could say he's the color commentator portion of this band. Everybody else lays the muscle down as Kevin throws in the special seasoning. Ryan Rumchaks amounts to not just a small hit part player on bass. He steps into the fray quite handily and makes his contributions count long after the song ends. Sounds appetizing so far. Throw in the pity inspiring choral refrain and "Gone" has you at attention for as long as it wants. The opening chorus shows Joe knows how to create a mood, even if said mood is a mite depressing. The starting line goes "I did what I do best...forget myself. Got overdressed like everybody else. A glance and a half smile. Black heels on the white tie. It took seven years for your path to realign but I'll still think of you on the 5th of June cause when I saw you I lost you all over again. Boy sounds like he's one bad break away from hurtling himself over a bridge. The chorus isn't inspiration for rebirth either..."Gone. Doesn't it feel good to be invisible? Gone. Just like the way I used to be. Gone. Have I been fading away? Yeah, I'm so gone, gone." The love interest's stare pierces him like an unforgiving knife, severing what emotional ties there ever were. Rob claims he's not who she remembers but that's primarily because she stole his personality away. He's not without sympathy though. He admits she could stand to have a break from his ghost. Yet his intensity of feeling remains a constant. This song's tempo reflects the psychological desperation Joe's shooting for. The instruments are spread out evenly which makes it an exciting construction job to witness. Broken love's a time honored theme in music. In Knuckle Puck's hands there's a fresh burst of pluck. "Gone" stays in the here and now with compelling results.

The Front Bottoms Flood Us With a Nice Taste of Oddball Pop

Straight from New Jersey I give you The Front Bottoms. These two gentlemen pack a lot of strange into one 3:10 song, that song being "Raining" Brian Sella does vocal duty here and he quite clearly embraces the strangeness he's peddling. Matthew Uychich smacks drums here and how off to the races he gets. What needs to be said about the video. Brian (I presume anyway) wanders from the hospital straight into a party where all his matea are waiting for him and he takes many bizarre twists and turns along the way. I'm surprised at how bubbly the song is given this is an escaped patient we're talking about here. Nevertheless The Front Bottoms harmonize beautifully. Way to do more with less. I don't think I am really sure what that voice affectation is that provides giggle moments throughout. I guess it'll have to remain a closely guarded secret. Let's hope The Front Bottoms doesn't end up in that category because it succeeds in getting your attention with programmer friendly indie-pop that willfully holds onto its eccentric sensibilities. On a clear sunny day "Raining" wouldn't be out of place. In fact, when the band was noodling around in the recording studio composing the song, who thought "Raining" would be an appropriate title. It hasn't stricken me with Seasonal Affectation Disorder. There are no Kleenex boxes in view. It's extremely easy to like. Even the lyrics aren't too unbearable. How could you be grief stricken over a song that shares lines like "We went flying over all the trees to see a house built by a mafia member."? Isn't possible in my book. Brian doesn't appear to be the most level headed cat if the video's any indication. He's still wearing his hospital bracelet for cripes sake. But anyway "Raining" sounds perfectly okay when placed in the framework of a corny cross town trek. When the bridge comes into play, what wonderful chaos Brian and Matthew make. Where did that explosion come from? Again, maybe it's best left alone as a magical secret. Brian goes from feeling all torn up to needing magic just to fall asleep. What a miraculous transformation. All the while Brian asks "How do you think that felt?" Rest assured he has brushes with feeling "absolute fantastic". One doesn't expect such a rosy outcome to the video but there have it. It's all smiles, festive, uproarious but...THE DAMN BRACELET'S STILL ON HIS WRIST!! Could be something in the water over in Woodcliff Lake or some really choice LSD. Either way The Front Bottoms make abashed merry and don't care who knows it. "Rsining" smacks you across the face like a bracing April shower. Looking forward to new insanity real soon. Took 'em over a decade to seize their moment but here they show they're ready to shine.

Evanescence's Imperfection Strikes a Perfect Chord.

Evanescence essentially had me at "Bring Me To Life" back in the early aughts. Amy Lee, given her goth styled persona, honestly does have a voice that could wake the dead. Everything about the song made for a killer introduction to how seriously the band kicks ass. The guitar playing cooks, the lyrics are foreboding, and Amy cuts through the clutter like the pro she is. Here in 2017 a new album, "Synthesis" is slated for release really soon and I couldn't be more pumped up about it. If I may be so bold, I think Amy's one of the top 50 female vocalists of all time. What sets her apart from the distaff crowd is that her vocal style betrays a real maternal protective instinct that comes from a rough edged soulful place. You can hear it full on in "My Immortal". They sort of toned down the creepiness so radio wouldn't get turned off by it but the pure CD version gets you reaching for a light switch because you wouldn't want to be left alone in the dark with it. "Synthesis" starts off with one of the most generous opening piano solos I think I've ever had the good fortune to hear. Is that all? We're getting a style change-up consisting of power ballad parlor tricks? Patience my friends. Amy's got your need for explosiveness within easy reach. Boy is it pulverizing. In 2017 the Little Rock band has in fact added layers of complexity to its bulldozer intensity. "Imperfection" operates at a midtempo level which gives it time to worm its way into your bloodstream until you've gotten a virus you want no cure from. Lyrics point to desperate pleading as is evidenced by "Don't you dare surrender. Don't you dare leave me here without you cause I could never replace your perfect imperfection." The only head scratcher I can make out is, "Don't look now but the little girl's got a grenade." Way to get all military strategist on us but what was the point? Despite this left turn "Imperfection" shows Amy at her very best, voice cued up to stun, cross to bear sticking out of her pocket. Will Hurt's drums incite one to gulp one's throat in dread. Troy McLawhorn's lead guitar digs under the surface of Amy's impassioned delivery. Relative newbie Jen Majura holds on in the rhythm guitar department. Will Boyd's bass is the final delectable nail in this inviting rock coffin. You'll need strong coffee to keep up with this tune. It clocks in at 6 minutes and 40 seconds. That might make it a bit unreachable for radio programmers who want to add some bite to their playlists. To you and I that shouldn't matter. Evanescence remains captivating some 16 years after its inception. "Imperfection" reveals not a chink in the armor.

Manchester Orchestra Goes For And Takes The Gold

It glides on smooth like latex paint and can leave the consumer equally satisfied with the result. I'm referring to indie band Manchester Orchestra's new single "The Gold". I describe this track as a jigsaw puzzle well-meshed. Given we're nudging towards autumn "The Gold" strikes as an ideal segment of your life soundtrack at this point. Luxurious and ornate it has that one percenter smell of old money but doesn't flaunt it much as they might. Andy Hull has a beautiful set of pipes propelling him forward. Andy Prince has intensity to burn and it shows in the way he buoys Andy's sound. The video is a hodgepodge of intriguing imagery that lends itself well to a song steeped in provocative dialogue. Lyrically entropy takes the lead here with words like "Couldn't really love you anymore. You've become my ceiling. How does one pull that off exactly? I guess if anyone can do it Andy can. But wait, there's more. How about, "You don't have to hold me anymore. Our cave's collapsing." What part of his brain keyed in on the Flintstones to come up with that line. It impresses me in any case. Tim Very's drum work doesn't render him a non-factor but he does err on the quieter side of the spectrum. Steadily contributing but not overblown. Still gorgeous though. Ditto for Robert McDowell's keyboard and lead guitar work. You like the novelty value of a song that treats you gently, but not with kid gloves. The MTV Video Awards would be wise to at least consider "The Gold" for a Best Cinematography Award because it's that pretty to behold, but I digress. If you like intellectual music "The Gold" ought to keep you in high cotton for a spell. Favorite lyric has to be "I don't wanna bark here anymore." I feel you buddy. The thrill's gone for me too. "It all tastes like poison," leaves nothing to the imagination. So much poison floating through the ozone these days that I get the connection to the media circus of President Trump instantaneously. Not that that's what he's driving at but can you blame me for connecting those dots? That guitar brings bounce personified to a track already primed for motion. One way to sum up the video for "The Gold" is that it's an extended stream of op art stretched out taffy wide. "The Gold" is precious just like the mineral and just as rewarding to have in your hot little hands too.

HELLYEAH Rises With "Love Falls"

Somebody needs a hug and that somebody is HELLYEAH'S lead growler Chad Gray. Anger permeates his every breath. We sense the tight noose wrapped around his neck, a hopelessness point he draws to again and again during "Love Falls". He doesn't have those often used Cookie Monster vocals but if you want nightmares for yeara, take a look at the expressions he gives us in the band's video. The song starts out innocently enough structurally but then, moments later, it kicks into high gear. Vinnie Paul kicks into high gear on drums. He puts down some mighty flourishes in the most appropriate places. Christian Brady electrifies, no pun intended, with guitar that sounds like either he or somebody he knows left the pot burning on the stove too long. The steady boil pays huge dividends. Everything about the attitude benefits from such raw emotion. Love is often cruel and not an end result one opts for. Chad lets his wounds seep out for all to see as is personified in the video by the young woman cutting herself at the sink. How hard up for love does Chad feel. Well...check out this scorched Earth poetry..."Have you ever wished for death and prayed all night for your last breath?" Well personally no because I'm too attached to the planet at this point to beg for a hasty exit. Chad digs deep during the chorus. I don't think in all the time I've been blogging that I've heard a man so at the mercy of torment. That's put on full display in, "I'm hanging by a thread, a rope, the noose around my neck. I choke, cuz every time I'm fallin' love falls out of me. I'm hardened like a rock, a stone, the brick inside my chest. Alone cuz every time I'm fallin, love falls out of me. Kyle Sanders explodes on bass. His tone matches Chad's rasp stride for stride. It's a love gone cold saga that grows more and more painful to experience the longer the song goes. It is hard to take your ears off of. A lover's quarrel not meant to end well. Chad's putting up too much of a fight for any of us to suggest putting him out of his, and, possibly our misery. He's not doubling down on the misery card. But the weight of his world does seem to be crashing down on him. If that makes for crunchier rock I don't know. In this case I'd say yes. If you're claustrophobic as a rule, I'd give "Love Fails" a wide berth. However, if you need people to commiserate with, HellYeah's got you covered. "Love Falls" rises to the battle scarred occasion.

Fall Out Boy Cuts a True Gem.

The kitchen sink's in here...trust me. Fall Out Boy's latest single "Last Of The Real Ones" does what a good football team does which is get everybody in the offense involved. Andy Hurley's drumming makes you sit up and take notice even though that doesn't get cranking until we're well into the proceedings. Patrick Stumpf's pipes are haunting whether it's through the main stanzas or the chorus. Pete Wentz blends in perfectly on his bass guitar. You get chills just pondering the possibilities he could whip up but you're too engrossed in what he's doing in the present moment. Joe Trohman adds fuel to this inferno effortlessly. Put them all together and Fall Out Boy has created a true nail-biter where the suspense quotient is off the charts. If you're not smiling as the video rolls you must have missed out on the humor gene when you were hatched. Fall Out Boy is known for its wacky videos, but this is weird even for them. They actually stuffed a guy in the trunk of a car in the name of artistry. That's really creepy but the dark humor seems to work for them as Pete belts out his lyrics for the ages. How do you top "I was an only child of the universe." You don't which makes things all the more impressive. I'm enthused at the band's roaring out of the gate tempo. It adds excitement to a song and title that didn't really need the help. Pete knows how to flatter the ladies. Take "'Cause you're the last of a dying breed. Write our names in the wet concrete. In front of Mann's Chinese Theater I presume. Wherever the location it's an effective statement loaded with passion. It's hard to tell the real ones are in the digital age. Nice of Fall Out Boy to bring that up for discussion. In an industry where careers don't tend to last very long, Fall Out Boy's managed one and a half decades which is to be commended. What a blast they appear to be having. You get the urgency right from the start and that stays faithful to the boys right down to the last note. That's a state of being the band builds on to impressive effect. As the song builds in tonal intensity we love being along for the ride. "Last Of The Real Ones" winds up being the latest addictive Fall Out Boy production.

Pat Benatar Boldly Walks Through The Wreckage

I don't usually play favorites when it comes to this blog but for today I'll make an exception because I'm spotlighting a true living legend, Pat Benatar, the woman who made my subscription to Billboard magazine worth the sticker shock. Time and again she has delivered. Her latest, "Dancing Through The Wreckage" adds a delicate layer to her astounding body of work. There's none of that balls on full blast sensibility of her earlier work. Here she's tackling the sad and completely unnecessary plight of homeless female veterans. The band flanking her knows the huge importance of the topic so it declares itself in hushed fashion. The drums pour down from above like shampoo lightly penetrating the hair shaft. Piano strikes the maternal note that all moms and daughters should be fortunate enough to have. Guitar gets toned down as well. But make no mistake, this track from the critically acclaimed film "Served Like a Girl" is a 100% Benatar production. Doesn't matter who she shares the soundtrack credits with (for the record that would be Gwen Stefani and Natasha Bedingfield among others). When Pat plays the mother hen card there's a not a woman alive who can challenge her supremacy. The voice of the 63 year-old has naturally obtained some added rasp over the years but that was what was pulse pounding about her in her salad days. She's had social gravitas back to the late '70s when she had to defend the child abuse tirade "Hell Is For Children" as not being a veiled reference to sending children to Hell. Being a mother of two has not lessened her fierceness one iota. The video's black and white appearace underscores how you can't put a Band-Aid on something like homeless female veterans. This is a wrong requiring concentrated boot strap pulling effort. Some of the lyrics very much mirror Pat's own struggles with Chrysalis Records which insisted she continue to play the goose that played the golden hits. The last line of chorus 1 hints that..."I was raised to always hold my head up high." The last line of Verse 2 sums up the story adeptly..."Even with the pain, beauty still remains inside." Pat doesn't have to do the heavy lifting but she still totes around the something to prove attitude and that's what makes her stand a cut above any number of pop princesses dotting the landscape. "Dancing Above The Wreckage" struts its substantial stuff with patriotic aplomb.

BORNS Not Destined To Do a Fast Fade

He's a one man band. The new video for his "Faded Heart" shows that he's not at all uncomfortable playing around with skeletons. His given name is Garrett Clark Borns but to the music world he's simply BORNS. His future looks dazzlingly bright because not only can he project as a singer his wide range of instrumental zing definitely has his fan base's attention. "Electric Love" had more color than the brightest post storm rainbow. "Faded Heart" doesn't have that much Candy Land rated glitz but the potency of the multi-faceted instruments he plays (those being guitar, piano, and keyboards among others never flags at any moment. The drum beat behind him gives "Faded Heart" an extra kick in the cojones. Meshed together you find yourself having more fun than BORNS should be allowing you to get away with. Doesn't matter though. The journey's an honest God spectacle that no rational person would want to turn away from. As he winds his way through the video's various outfits and scenes, BORNS does let his sensitive side seep through. The lyrics pay testimony to that. A religious perspective starts the show as evidenced by "Galaxy, galaxy, won't you be my consolation? I need someone to kiss my hands and feet and make me more complete, oh yeah. Mysterious universe I know you're unrehearsed but I see the light in your hands. You're the man with the plan, oh yeah. Another searcher hunting down divine answers. BORNS does add some genuine flair to this oft traveled pursuit. The instrumentation sounds like it wouldn't know miserable if it was standing in a police lineup waving "Pick me! Pick me!" The chorus clearly shows BORNS has a vulnerable heart that he doesn't show to just anybody. "Don't you break my faded heart," he pleads. It can be claimed that BORNS has a sound and look all his own. Even as he meanders throughout his playground he maintains his zest. The closing piece tells you that being buried up to his head in sand isn't a deterrent. Just a day in the life. As the music fades we'll remember BORNS as a man worth cheering about. "Faded Heart" has a gigantic heart worth loving.

P!nk Puts Together One Of Her Most Emotionally Charged Efforts...Just For Us

If you've been anywhere near the music scene lately you know that P!nk's a true battler. She'll tell you exactly what's on her mind whether you like it or not. This time she's hit very close to the cosmic nerve. That says something given this is the woman who gave us the tear jerker "Family Portrait". The oft times cited musical question she asks is "What About Us" and she does so as we might expect...ferociously. She lets out each note as if it were to be her last. The dance routine in the video gets you right in the old ticker. This is a P!nk production after all which means no pathos spared. Using minimal synth drum and keyboard to back her up, her vocal talents reach the most world weary listener. We're talking major morale shakeup. P!nk speaks out on behalf of the marginalized around us who don't feel American society hasn't given them a puncher's chance at succeeding. These lyrics can and will melt your heart. Let's get those water works started with "We are billions of beautiful hearts and you sold us down the river too far. The chorus can bring even the most miserly man to his knees begging for a chance at redemption. How about, "What about us? What about all the times you said you had the answers? What about us? What about all the broken happily ever afters? What about us? What about all the plans that ended in disaster? What about love? What about trust? What about us? If that wasn't enough she goes for our weak spots with heart breakers like, "We are problems that want to be solved. We are children that need to be loved. We were willing, we came when you called. But man you fooled us, enough is enough." Like I said P!nk knows how to strip away the bullshit without you knowing there's a lump in your throat. The accompanying video could easily be extended to its own feature length movie. The anonymous orator at the outset hints at that idea. "What About Us" shows off its versatility. You can dance to it, cry to it, maybe even fornicate to it. It's hard to imagine P!nk ever having been a twentysomething R & B light performer. Ever since her encounter with Linda Perry, the one time 4 Non Blondes singer turned writer, she's turned up the edge. It's put plenty of butts in the seats and dollar bills in her pocket. "What About Us" is about as good as this Philadelphia native gets. The album this comes from may be called "Beautiful Trauma", but to my ears it's a gorgeous resurrection.

AWOLNATION Brings Some Explosive Passion To The Forefront

Even if all I had to go on was the video for AWOLNATION's new single "Passion" I'd already be amazed. This song makes you scratch your head quizzically but it's a riddle you'll have fun unraveling. I can't even do the ending any justice because it's so milk out the nose funny. Metal does bombast really well so hearing an alt rock act emulate the sexual promiscuity is a nifty trick. Vocalist Aaron Bruno's the ringmaster for this circus. All the bandmates and actors in the video have to do is follow his lead. As the title indicates passion's a really big deal that cuts across race and color lines. Zach Irons struts his substantial stuff on lead guitar. Isaac Carpenter bangs away at the skins, a definite two points in the name of masculinity and deeper exploration of the title's meaning. Marc Walloch bass brings heftier doses of adrenaline. Not that "Passion" needs it that much but every drop works in AWOLNATION'S favor. The song has lyrics your grandmother would blush over. For example "I found a potion for fixing passion. Go tell your homegirls, get their reaction. Out on the ocean for satisfaction. Go tell your homegirls, what's their reaction? The chorus puts us in high silliness mode. It's a pleasure to watch it unfurl though. And when you thought the final chapter had been written on the song, up pops multi-part harmony followed by the actors hamming it up with glee. Lots of hair flicking plus bicep action. The song isn't your standard alt tune. It's actually a tour de force journey to the center of a man's mind. Although to be fair there are women going for gusto here too. As a unit AWOLNATION has this cohesion that allows them to stand out in a crowd. "Passion" doesn't lack passion one bit. The gear shift stays locked in fourth throughout and we reap the rewards. Not once does AWOLNATION rest on its laurels. Change-ups are quite common. You're not lulled to sleep by a one trick outfit. By the time the fade out descends upon us we have to come up for air because we're making ourselves sick from laughing so hard. "Passion" leaves sweat all over the sheets and we can only shake our heads in obvious amusement.

Mastodon Breathes A Lot More Than Steam.

Mastodon's "Steambreather", to these ears sounds like what the best sex must feel like. It grinds. It pulsates. It's super aggressive and is that way for a wonderful purpose...making the music business snarl a bit more. On the basis of the title alone I had to give this one a test run. Boy am I glad I did. My teeth are chattering in a good way. Chills down the spine, people. That's what top notch rock has the ability to do to you. Not one note lacks the bite of a starving tiger. That guitar weaves up and down hellaciously. Thanks Brent Hinds. You just made my month. Average music weekend warriors can't comprehend what kind of aural connection this is. Thanks to the video director for keeping the mood light. Oh...and another thing...Brann Dailor's drumming is nothing short of epic. The man goes from delicate to brutal in a single bound. When a artist goes freestyle like that the results depart the physical plane and head straight to otherworldly. This Atlanta band should know how to rip off the volume knob by now. It's been around since 2000. These children have learned well. Brann's vocals are equally impressive. With a surgeon's precision he roars through the material, daring any of us to stop his reign of terror. Turning to the lyrics I'll BFF any of you who can tell me what Nazca lines are. Is this a thing now or what? Brann has personality issues from the looks of things. Stanza three essentially tells the story. "I wonder who I am. Reflections offer nothing, I wonder where I stand. I'm afraid of myself." I feel your pain man. I wonder what benign deity would've created an enigma like me. He hates watching her crumble to the ground. It was easier to stay after helping her find the golden crown. Even his issues have issues. Poor guy could use flowers. "Steambreathers" is one of those songs where the lyrics become an afterthought because the instrument playing exceeds any and all expectations. Turn this up to eleven. You'll thank me later. Each band member gets to show off his talents to phenomenal effect. The actors and actresses in the video camp it up brilliantly. Watching items get sucked up someone's nose surely counts as an added bonus. And you claim you've heard or seen everything. Any blah Monday would benefit from octane this supercharged. "Steambreather" isn't totally accurate. Fire is the prevailing element here. However you describe it, "Steambreather" defines awesome.

Jack Johnson's Strong Selling Point Is His Savoir Faire

Jack Johnson has managed to do something I never thought possible...turn a song called "My Mind Is For Sale" into something celebratory. The lyrics certainly venture towards the deep end of the intellectual pool. The video's remarkably charming given the subject matter. According to Mr. Johnson it was made on his iPhone for $0. The results are remarkable. Jack's whimsy takes a central role which boosts its buying power. Guitar starts the show and it's not spread too thick. Gentle, consistent, easy to slip into. Add some lively percussion while you're at it. Like I said the lyrics are for the deep thinkers among us. There appears to be a road race. Jack's opponent apparently uses six or seven words not at all in good taste. Jack's gist is he's not one for paranoid commentary. Us against them walls just won't cut it. In verse two Jack boldly admits that his mind's for sale, speaking from a real estate standpoint. He claims it's all been subdivided, divided into reasons why my two opposing thoughts at once are fine.I'm intrigued at how chipper and troublesome overlap over something as vexing as a exploitable mind. If anyone can pull it off Jack certainly can. "Upside Down" was proof that breezy is definitely part of Jack's repertoire. Watching bricks magically acquire words you can bet will take you back to your childhood days. His contention that reality's a slippery slope couldn't be any more appropriate given the maddening political climate going on right now. "My Mind Is For Sale" serves as the banana cocktail counterpoint to the emotionally loaded lyrics. Watching it lumber along gracefully should delight even the most hardened music cynic who claims to have heard everything. That the animation trickles along slowly enough for you and I to appreciate the labor that went into making it shows real class on Jack's part. His artistry really comes through loud and clear. You'll like the chorus's sunny composition as well. "My Mind Is For Sale" has amply demonstrated that it's worth shelling out a few bucks for.

Alice Merton Strikes Gold With "No Roots"

Newcomer Alice Merton lights an enticing fuse for her debut single "No Roots". She puts the beat together like a master chef prepares a soup. First you throw in a mouth-watering bass roux that goes down really smooth but leaves a favorable aftertaste as the payoff. Next let's add the resounding thump of an infectious drum. Scatter a caffeinated guitar at appropriate intervals, a spastic camera trick to say the least and you've got the makings of a track that's definitely going to turn heads. Alice's voice commands your attention and won't let go. One thing's for sure... Alice's roots aren't tethered to solid ground. The fierce lyrics make that point perfectly plain. She likes digging holes and hiding things, a topic she and her therapist should discuss at greater length than a rootsy blog can tap into. Continuing on she hopes old age won't be a deterrent to her finding her buried treasure. It's the memories she covets most given her gypsy lifestyle. The best thing I can think of to say about "No Roots" is that the narrative's easy to follow. She's the night watchman (Or is that woman?) for her human experiences and there ain't nobody going to take what's rightfully hers. The defiant Ms. Merton asserts in the chorus that her home was never on the ground which sounds like LSD consumption at its finest. Verse 2 goes on explain that she prefers standing still but that concept at best smacks of wishful thinking on her part. Verse 3 elaborates on her mindset a little bit more by insisting that "I count the gates and numbers, then play the guessing game. It's just the place that changes, the rest is still the same." For a vagabond she's got plenty of grit. People trapped in that sort of box don't often come out the other side better for the experience. I like a newbie not short on determination. Alice isn't hiding anything from anybody. She does so in a way that slaps across the face without a word to say in apology. The intermittent guitar riffs elevate "No Roots" to the level of art that invites curiosity seekers of all stripes. She may not have a happy ending in the cards but listening to her motor along in this wronged woman persona easily compensates. Alice was born in Frankfurt, Germany so maybe that explains the militant stance. Whatever the justification "No Roots" deserves to put up its feet for a spell and absorb some accolades.

Foster The People Sits Well With Anybody Who's Nostalgic For Hall & Oates

If I didn't know any better I'd suspect Foster The People had a thing for golden era Hall & Oates. That exact same studio polish shows up in spades throughout the band's new single "Sit Next To Me" which comes off of said band's new "Sacred Hearts Club" album. This song doesn't try to hammer home its point with a jackhammer. Rather, you're invited to coast along the band's gold dust highway, twinkling magic and all. Lead singer Mark Foster unspools the tale of Foster trying to do right by an ex-lover who he'd like to once again hook up with. Verse 1 definitely casts itself a shade on the bleak side. Listen to this... "Yeah it's over, it's over. I'm circling these vultures. Got me praying man these vultures. Got me praying man this hunger. Feeling something rotten. Last time I saw you said "What's up?" and pushed right through. Then I tried to catch you but we're always on the move. And now it's over, we're sober, symptoms of the culture, and the night ain't getting younger. Last call's around the corner. Wow. Anybody else want to jump off a bridge? Kind of runs counter to the light fluffy arrangements I alluded to earlier. He does make a convincing case for why he should be given a second chance to turn this woman on some more. He delivers in heartfelt fashion that no girl could resist. The chorus simply states "Come over here and sit next to me. We can see where things go naturally. Just say the word and I'll part the sea. Just come over here and sit next to me and I'll take you high." Mark Pontius does a fine job on drums, coaxing out each drop of romantic tension available. Sean Cimino's keyboards are a welcome addition to the mix, and more of an apt layer to the song. Isom Innis is no small contributor on percussion either. "Sit Next To Me" lays its foundation on the not so lost of compiling something better from the wreckage of previous relationships. Foster The People is at least smart enough to put the bricks on gently.

Welshly Arms Uncorks A Legendary Blues Rock Jam

Cleveland, Ohio. Home to the much revered Rock and Roll Hall of Fame. The stories those walls could tell. Cleveland's also the birthplace of Welshly Arms which the good folks at Wikipedia inform me was a name lifted from a Saturday Night Live sketch so we can glean some sense that these guys have a sense of humor. They make their intentions early on in "Legendary" by draping a mouth watering keyboard over the session. That gets your heartbeat pumping in record time. The video adds to the overall amusing tone. Seems a bank robbery's going down and our illegal capitalists have donned cat masks in pursuit of the monetary version of the oft bandied about American Dream. Sam Getz tells the story in full on bravado mode. Mikey Gould drums his way along this sure to be on the nightly news highlight reel. Jimmy Weaver pours on the octane in bass guitar land. "Legendary" equates to an affable rock interlude with blues chorus shavings thrown in. The video gives loads of eye candy to all who seek to be enticed by that. The tempo ambles along just enough to keep anyone from being left behind during the trip. Welshly Arms isn't shy about injecting some political commentary into their music. The second stanza tells the entire story chapter and verse..."You know the truth can be a weapon to fight this world of ill intentions. A new answer to the same question. How many times will you learn the same lesson?" To answer that question some people don't ever learn their lesson until it's too late. The female backing chorus gives "Legendary" some definite heat. Welshly Arms stands out among current bands in that it features five vocalists. In addition to Sam Getz we get Brett Lindemann, Jimmy Weaver, Bri Bryant, and Jon Bryant. That's bound to help them stand out in a crowded alt-rock field. This song surely is fun to digest. The choral refrain makes it that much more special. How could you not smile at "'Cause we're gonna be legends. Gonna get their attention. What we're doing here ain't just scary. It's about to be legendary." Welshly Arms has been around since 2013 and with songs like "Legendary" in the hopper there's no reason to think long term prospects couldn't be rosy. "Legendary" may not be legendary in and of itself but it's quality rock at agreeable bargain basement prices.

Spoon's Latest Is Worth Grabbing a Seat For

Spoon's back and ready to shove you into that disco frame of mind. "Can I Sit Next To You" insinuates itself into your marrow via a dance groove plucked straight out of 1977. What makes it such an infectious head trip to get behind? Well Rob Pope's bass guitar has more than a little to do with it. I'm not saying you need to pull out your vintage Saturday Night Fever garb and shuffle your way through the night but how could you resist the temptation when there's such a mouth-watering framework to step to. It's clap along fun at its best. Just add some buds along with hooch and you've got instant party in the making. The lyric sheet comes complete with various twists and turns sure to make you wonder what kind of lifestyle these guys really lead. Inherently touching are the words "Get the stars out your eyes come and bring them to me. Sort of gives you warm fuzzies like Tinker Bell's pixie dust only with a modern spin placed on it. Lead vocalist Britt Daniels performs his role of devoted boyfriend quite well as gets demonstrated with the lyrics "I walk to Memphis alone 'Cause you'd do it for me." That sort of reciprocity and dedication to it is a rare commodity among humans. If he isn't proud of his chivalry there's something very wrong with his cranium. The language grows more graphic but the story it tells speaks of two young ones galivanting about getting into as much trouble as possible and secretly loving every minute of it. As only Spoon can the band puts across such gems as "All the kicks from the sticks. All the kicks from the sticks. All the hits that we took. All the stitches we got. All our brains so cooked. Oh oh oh." Now that's what I call a busy afternoon. Jim Eno adds just the right amount of pluck on drums to make it look like Britt's not doing the lion's share of the work. Spoon definitely knows what a collaborative effort is all about. As one might expect from a band residing in the home of weirdness that is Austin, "Can I Sit Next To You's" accompanying video takes the craziness angle to an extreme only Spoon could pull off. Someone please give me a language translator if you can figure out what on earth is going on. No doubt Spoon's having a blast with the material. It comes across like snippets from a bad B-movie. The voyeurism factor rises quite high here. The pleasure cruise will have you grinning from ear to ear. "Can I Sit Next To You" doesn't deserve to be relegated to the outcast table since they brought a wonderful soup with them.

All Time Low Basks In The Good Times

The musical cohesion present in Towson, Maryland's All Time Low's single "Good Times" proves to be its ace in the hole. From the outset lead guitarist Zack Merrick gets the momentum going, setting us all up for a fond reminiscence of high school memories one is loathe to leave behind for the memory bank. Likewise Rian Dawson kicks out some worthy beats on drums underscoring the youthful playfulness this song uses as its bread and butter. I like the well worn feel of the video, scratchy but well-loved. The silhouette of what I presume to be the band members makes for an air of mystery. You get nothing but tenderness from the lyrics to the song. Try not to get all choked up recalling the sweetness of the moment. Verse 1 gets right to the point..."On a fault line, late night. Underneath the stars we came alive. And singing to the sky just felt right. I won't forget the good times while the punks started picking fights. with the skater kids under city lights. Remember how we laughed 'til we cried. I won't forget the good times. If that's not tear jerking enough the chorus should help you rip through a box of Kleenex or three. Check this out if you're not believing what I say..."I never want to leave this sunset town. But one day the time may come and I'll take you at your word and carry on. I'll hate the goodbye but I won't forget the good times. Alex Gaskarth delivers a hearty storyteller vocal which makes only too clear how bittersweet parting really is. Jack Barakat does singular work on lead guitar. Again it speaks to the devil may care attitude possessed by the band as a unit. The end of the video concludes with the shutting of a scrapbook with a spade on it. The collection of memories made complete. As sounds go "Good Times" has this light ethereal quality about it that goes well with a warm sunny afternoon. Drop some nice power chords in view and what could be an average jam turns into a real passion play. It's a great time for "Good Times" given our ever present need for nostalgia. Welcome to the party boys.

Highly Suspect Crafts a Big Tribute To Romantic Anguish

At the beginning...acoustic guitar. At the end...acoustic guitar. In between the story of a man brought to his knees by a romantic entanglement gone horribly wrong. Highly Suspect knows how to push the right psychological buttons throughout "Little One". If the video plot is to be believed lead vocalist Johnny Stevens is having a discount store meltdown as a way to vent his frustrations over this twosome fallen by the boards. Lyrically he's a broken man down on his luck and ripe to be tossed into any one of a number of alcohol induced self medicating situations which don't promise happy endings. Check out verse three for confirmation..."I'm tired, you're angry and everyone looks blurry. I love you. I'm leaving; so long. Rampant throughout the chorus bursts the sentiment: Hey little one I'm so scared of what this could've been. I know that today I lost my only friend, my little one. Highly Suspect feels Johnny's pain on multiple levels. For example Johnny's lead guitar bristles with the sting of his deteriorating state. He's a man carrying around an open flesh wound that no medicine can alleviate much less cure. Ryan Meyer drums his way to a new level of angst whereas Johnny's brother Rich does an unbelievable job on bass. The opening salvo doesn't prepare you for the all out assault on your senses that comes on its heels. When it comes you're dropped back on your heels, finding that escape is bound to be futile. Haven't we all had one of those moments where we wish to trash the local Dollar Tree until it's nothing but a huge pile of rubble. We live vicariously through Johnny, and our hats go off to him for allowing us the privilege. Throughout the song Johnny slips deeper and deeper into a black hole somewhat of his own making. This is where the rhythms are at their most convincing. At the closing portion we hear the instrumentation begin to quiet back down even as the video shows Johnny's mental collapse complete. The cops have him dead to rights and he comes off as totally overwhelmed. The man doesn't even care about the weather, a point driven home by "It's raining. It's sunny. It doesn't make a difference." You'd like to offer him a tall cool one but you're suspecting that might exacerbate the situation. "Little One" makes a big noise on behalf of bereft lovers everywhere. The wounds are palpable and we empathize in no small measure.

Walk The Moon Puts Its Best Foot Forward

It's with great pleasure that I announce to you that Cincinnati's pride and joy Walk The Moon has returned with a smashing new single "One Foot". This band's previous effort "Anna Sun" knocked my socks off as this blog has reported in the past. That had such aerobic workout intensity to it that I couldn't help but cheer for their rapid rise through the alt rock ranks. Now to be honest "One Foot" doesn't have the same brand of vigor but make no mistake when it comes time for Walk The Moon to take its plucky carnival out on the road there will be much dancing in the aisles, not to mention the obligatory sea of iPhone cameras ready to snap pictures for posterity. Lead singer Nicholas Petricca has maintained the verbal agility that made "Anna Sun" so fantastic. This effort comes from what I imagine is more of a spiritually emboldened place. His voice sounds armed to penetrate the thickest pea soup fog that anyone can come up with. Bassist Kevin Ray lends muscle to the proceedings. Especially during the chorus he comes forward to shine. Eli Maiman does due diligence to his guitar as well. There doesn't appear to be any clutter in the song's arrangements thus making for more of a pulse pounding result. The tempo takes you to places you never thought possible. It's like the musical equivalent of watching two master skiers flying neck and neck down a mountain, each man only competing with himself. Strangely enough you can even hear a bit of hip-hop sensibility in the lyrics "Ain't nothing left of us, this is the exodus. They're just testing us, they can't flex with us. They can't mess with us. They can't mess with us." Who knew Nicholas had it in him, but here's the tangible proof. The chorus gives off wave after wave of jubilation in service of a track caught up in live or die dramatics. How can you get more serious than "Not a soul in the road, not a star in the sky. It's a desert in my heart and nowhere to hide. I'm your king of nothing at all. And you're my queen of nothing at all. Kind of reminds me of that Simpsons moment where Mr. Burns declared rather brashly that "Homer Simpson is cock of nothing." Just a fun pop culture reference. I'll get back on the highway now. Drummer Sean Waugaman looks hyper focused in the video which has a mountainous terrain feel to it. "One Foot" benefits from his percussive backbone. The band itself benefits from its catchy new album title "What If Nothing", a signal that Walk The Moon doesn't take itself too seriously. In closing I'd say that "One Foot" has positioned itself for a nice run on the rock charts. Welcome back dudes.

Imagine Dragons Do An Outstanding Job Of Walking On The Wire

The chorus that launched a thousand ships comes to us through Imagine Dragons and its hip new song "Walking On The Wire" straight from the soon to be released "Evolve" CD. The overall sound, like you would expect has epic saga written all over it. You sense this otherworldly quality, as if it emerged from some dark chasm to bring light to a troubled world. Dan Reynolds does an admirable job projecting from behind the mike. This is necessary given the emotionally charged grooves the band throws down through its lyrics which are soft like gooey white bread that's been waiting to bust diets hither and yon. The still shot shows an outer space aesthetic that speaks to an optimism not of this realm. Allow me to demonstrate..."Do you feel the same when I'm away from you? Do you know the line I'd walk for you? The chorus gives prickly heat upon first listen. Plainly implied the heart tugging message states, "We're walking the wire,love, we're walking the wire, love. We couldn't be higher, up. We're walking the wire, wire, wire. Wayne Sermon excites the senses with his stellar guitar work which fuels the drama this song is fueled by. Can't leave out Ben McKee and his mastery on keys and synths. Kind of underscores the outer space vibe that was hinted at earlier. When reaching for the cosmos that's the kind of soundscape you need to get imaginations launched. Imagine Dragons isn't a stranger to bombastic arrangements, "Radioactive" being a case in point. That jam kicked ass wherever it went. "Walking On The Wire" certainly isn't quite as wide in scope but sets a mood in motion. Imagine Dragons advocate taking each step as it comes which, come to think of it, is our main option navigating the world around us. They also have a great way with roadside imagery. My exhibit As and Bs consist of "Feel the wind in your hair. Feel the rush way up here. All this kinetic movement excites the senses on many levels all of which arouse on impact. I think "Walking On The Wire" represents a fine edition to its singles library. Not a long walk but a peppy one that merits more than a hi and bye response from listeners.

Sleeping With Sirens Pieces Together A Legendary Fist Pumper

Residing in Grand Rapids, Michigan, Sleeping With Sirens brings out an optimistic piece called "Legends" that urges you to be anything you want because in this life that sounds like it should be your prerogative. Kellin Quinn's vocals are highly reassuring and make for a nice counterpart to drummer Gabe Barnham's steady beat. Even though Jack Fowler is listed here as lead guitarist, it's really bass player Justim Hills who gets the lion's share of the attention. And why the hell not. His sound offers the masculinity "Legends" tends to thrive on. Jack does give us some snazzy programming fills though. This song sounds like it would fit right in as part of the soundtrack to an '80s movie soundtrack. There's plenty of high drama to go around. You also are gifted with the sense that, however fleeting, you can be the master of your own domain. The tempo operates at a mid-range level, all the better to give listeners time to fully absorb and appreciate what they're listening to. Lyrically Kellin asks us to think back to our youth, when the sense of invincibility might have actually been present. "We could be wild and we could be free" he claims. Wasn't the stuff of my childhood but some thirty years later its freshness date really has come and gone. Gentle encouragement certainly boosts morale quite a bit and with Kellin leading the charge it's a message well-received. He's also playful, a nice asset to have at moments like this. The chorus isn't the type to bother you so readily that it morphs into a destructive earwig. We have all had those tunes where the bridge comes off like the worst hangover you could ever hope to obtain. In 2017 "Legend" is one song that won't have you reaching for the Excedrin. Maybe it's playing on a well-worn theme that loses i ts charm over the decades but 'ya know what...don't care.. Life doesn't play fair so at times a tune becomes necessary to keep you from writing yourself off completely, something to remind yourself that our world may appear to be heartless, shattering dreams right and left, it's all about perception. Not all is rosy but neither is it a duck and cover proposition. Sleeping With Sirens hits the mark soundly with "Legends", a song that isn't succumbing to the fury of our times.

My Silent Bravery Has Got Smoking Licks Going On

If head bobbing is your thing then you'll be quite smitten with My Silent Bravery's "Got It Going On". This has to be one of the most infectious choruses of 2017. It's Matthew Wade's gently strummed guitar that gets the action cranking in a major way. Here in Texas where fall has yet to make the scene, "Got It Going On" succeeds as a fine ice breaker for small parties and huge groups alike. True the chorus does tend to get a little repetitive but if you're going to repeat yourself why not do it with a song that makes the vitality jump right out of you. Imagine the 'cue going on full blast as you pop some cold ones with longtime buds and new pals alike. This song has a funny video presenting images of backyard fun cavorting around a nearby pool. You might even detect a little Latino flavor in that guitar, something to spice up the evening with. Matthew's the epitome of grace under pressure considering a sports injury prompted him to turn to music as somewhat of a calling and a saving grace that allowed him to pay his resurgent positive vibes forward, a mission statement of sorts going forward. Matt's not hard on the eyes as the My Silent Bravery bio proves. The remainder of the band shows off its mettle in fine fashion. Drums are solid. Bass lines work perfectly. The table is set for a nice run of success. Let's hope My Silent Bravery maintains the momentum needed to maintain its A-level work. "Got It Going On" certainly has all of that and then some.

Nothing More Succeeds With Its War of Words

Nothing More, a San Antonio outfit formed in 2003, does a slow burn as part of its new single "Go To War". The beat strikes me as equal parts vitriol and passion. Vocalist Jonny Hawkins penetrates listeners right down to their marrow thanks to his turbo-charged singing style. The video's bar room scenes, rife with chaos, are absolutely perfect and match Jonny's intensity to a tee. Guitarist Mark Vollelunga strums out a pretty high level of drama, no small level of goodness for a track as venomous as "Go To War" makes itself out to be. Band bassist Daniel Oliver hits all the right strides. The newest drummer Ben Anderson keeps time with fervent aplomb. On the lyric sheet Jonny lets out the most compelling side of his fiery vocal range which pierces listeners right where they live, deep in their guts. His opening salvo gets right to the point. "I don't know what you had in mind but here we stand on opposing sides. Let's go to war. Let's go to war. He then proceeds to get way more introspective with stanza number two..."We arm ourselves with the wrongs we've done. Name them off one by one. Let's go to war. Let's go to war." The chorus line is nothing but pure lyrical gold..."Screaming at the ones we love like we forgot who we can trust. Screaming at the top of our lungs on the grounds where we feel safe. Do we feel safe? The steady churn of the song makes it so very impressionable in the skull. It makes you want to grab some battle armor and climb into the hot seat with them. "Go To War" doesn't let up in the intensity department. You can see blood stains everywhere. The wounds are a pleasure to sport though chiefly because this band has mastered the fine art of wearing its heart on its sleeve, leaving no wound unexposed and ripe for being picked at. The musicianship is excellent, and Jonny can take credit for being no small part of that. Kudos to the actors in the video for ramming home the drama with all the subtlety of a jackhammer. You can tell private lives are being shredded to the bone. Loyalties get severely tested here. If a few beer glasses go flying and inadvertently take someone's eye out who'd be surprised. If you need music to get your angst out to, "Go To War" serves that purpose splendidly. Nothing More generates a winner by settling for nothing less than A-level rock chops.

Beck Crafts Yet Another Danceable Nugget In Living Color

Those of us who were around for Beck's 1990s output know that Mr. Hansen is somewhat of a wunderkind when it comes to assembling dance beats that really stick in your cranium and give you loosened inhibitions. Hell, the entire cosmic journey that was "Odelay" had peak dance hour moves crawling up the yin yang. "Where It's At" proved to be a keen '70s throwback while "Devil's Haircut" thrived on a razor sharp guitar chord that felt as sharp to the senses as a straight razor does to the face. In 2017 Beck gives us "Up All Night" a foot stomping gem from his October 13 release "Colors". This song is in fact highly colorful in how it lays down the rhythms. Beck himself again proves to be a very capable narrator, discussing how rhythm and words can make you cold and the evil inherent in the powers that be breaking the world down to the only world you know being this one. Atop the sure footed beats comes a winning chorus that ought to have plenty of peoples' heads shaking in sonic delight. Its words consist solely of "Just wanna stay up all night with you. There's nothing that I wouldn't rather do. Just wanna stay up all night with you. Hand clapping is very much recommended here. Just try not to become exuberant while getting all caught up in Beck's technicolor landscape. Even his post-chorus has definite mojo at its beck and call (Wordplay pun unintentional but, then again that's rock 'n' roll for you. plenty of twisted wordplay to be had.) The guitar work proves itself to be highly nimble and lousy with energy, skittering up and down the fret board amiably, dropping good endorphins in its wake. Beck has come a long way since his "Loser" days. For the record I never was a big fan of that song. Kind of gave off that nails on the chalkboard mentality that's hard to shake. However "Up All Night" has legs, staying power that will keep in front and center in people's minds for quite a while. That group of followers includes yours truly. "Up All Night" proves itself worthy of filling your happy place for days.

U2 Does The Best Job It Can With a Dance/Rock Hybrid

Does it seem to anyone out there that at this juncture in time U2 has been around since the Earth cooled? Some songs have been brilliant ("Sunday Bloody Sunday") while others have been a little strange to say the least ("Lemon" "Discotheque"). I'm pleased to report that their brand new effort "You're The Best Thing About Me" brilliantly straddles the line between the power chords U2 has been known for over the years and the flirtations with dance pop that reveal U2 still knows what it's like to have its showmanship on full display. The warm chord progression at the chorus is in stark contrast to the heart on the sleeve confessional loops Bono applies at the outset. There's a boyish glee to what Bono's expounding upom here. He tells his female companion that, because she looks so good, the pain in her face doesn't show. What a heartstring puller he is, the devil! He gets deep when he declares "You're the best thing about me, the best thing that ever happened a boy. I'm the kind of trouble that you enjoy." So, foreplay will be on the table tonight with confessions such as this. I sure am excited at the level of energy the band can put out at this point in its career. The Edge has his guitar armed for bear. Adam Clayton has his well-tuned bass coaxing out the oohs and aahs from the faithful. Larry Mullen Jr. remains a force on drums. You can find this single on the "Songs of Experience" album. I declare it's a fine single. The bridge doesn't skimp on playful harmonies to the delight of those who have been devotees since the beginning of this ride back in 1976. I'm impressed the lineup hasn't changed one iota. In the rock 'n' roll universe where many bands tend to operate on a revolving door policy that's saying something. Not only does your musical acumen have to stand the test of time, but you have to really like and/or respect who you're playing with. That's a 41 year marriage of critical acclaim and convenience folks. Some burly roadie will likely have to carry the band off stage because I don't envision its collective final breath taking place anywhere other than a rock 'n' roll stage, presumably of an arena nature. U2's technique hasn't lost a step low these many decades. Maybe Bono isn't yelling out charged political statements like he did in the days of "War" but this kinder, gentler version should not be denied the credit it deserves. "You're The Best Thing About Me" is the best example of how U2 can keep core followers while reaching out to newbie millennials who haven't been schooled in the finer details of what makes it an essential band.

I Prevail Won't Forge A Career On The Strength Of "Alone"

It's no wonder rock critics grow jaded over time. Same message about girl walking out of boy's life is such a tired cliche that it doesn't need Sominex to help it fall asleep. Yet here we are in 2017 being served the same tripe once again, this time courtesy of I Prevail, a band formed in 2014 that apparently didn't get the memo. Nothing about "Alone" convinces me that I should somehow care about the plight of Brian Burkheiser who doesn't croon so much as bellyache. You can't detect the whining but trust me, it's not that well hidden. The first stanza comes straight from the cliche Hall of Fame. It was the two of them against the world at the start and then...she left him all alone, knowing that she wasn't coming home. So much pining for so little reward. Later we get around to how she's locked him out of her world, the selfish little tramp. Could there be a line any more cringe worthy than "Feels like eternity, and I can't believe I let you in, you left me out. Eternity is one of those words that kind of gives me the heebie jeebies simply because I don't know how long that unit of time might be. That kind of word gives me relatively the same headache as hearing about the latest mind blowing high Powerball jackpot. I just don't have a use for 370 million dollars and the like. I'd have to live to be 800 to spend all of it or divide it between the many charity causes I support. What I'm saying is Brian's guilty of pathos overkill and there doesn't appear to be an apology coming from the I Prevail camp. Steve Menoian phones in the lead guitar work for reasons that must lie somewhere in the wheelhouse of "Even I know this song's lame and I'm the one who'll ultimately have to go on tour to promote it. Lucky me, huh. Dylan Bowman's rhythm guitar doesn't light up the night sky with fireworks either. The prevailing chord merely reinforces the fact that the last drop of anything resembling musical artistry is going, going, gone. In addition don't you just hate those dreams you wake up and can't recall. It's like that melon on top of your neck is taunting you. Brian offers that nugget in the name of human to human insight. He also points out that this particular dream featuring his now apparently ex lover plays in his mind on repeat. That's gotta either suck, smart, or a little bit of both. Over and over we're drawn back to "I let you in, you left me out. It grows to migraine inducing status until you want to end the torture by knocking yourself out cold with a blunt instrument. If you do regain consciousness maybe you'll have enough memory loss to forget "Alone" ever existed. "Alone" doesn't have the mettle to encourage repeated listenings. You're better off finding a crowd of buds to hang with instead.

The Sky's The Limit For The Latest Foo Fighters Lid Lifter

Okay, Ear Buzz buddies. Since it's Labor Day weekend I'm going to labor over this twofer special. That's right. For the first time in this blog's short (and hopefully conversation starting) history it's with great pleasure and a gentle helping of humility that I present you with 2 blog posts in one day. If somehow my weather worn hands come unattached and I have to go through the rest of my intense life sporting off-putting bloody stumps well...that's the small price I paid for a bit of minor league Internet celebrity. Anyway, onto what Price Is Right legend Bob Barker would call the bonus prize. Yes, that reference proves I came from the Pleistocene Era. What of it? I just want to fawn over Foo Fighters for a spell. Their body of work ranks as one of the best in music today. "Concrete and Gold" streets on the 17th. The second single from that project is "The Sky Is A Neighborhood". It's different from the majority of their past efforts based on the fact that Taylor Hawkins military wallop drumming takes center stage. It has you squarely in its sights and hopes you're wetting your pants as we speak. Dave Grohl's rasp fortified voice is, as you might expect, the main attraction. His posse's highly gifted but from word one this has been Dave's baby, a way to make something positive come out of Kurt Cobain's tragic death. 23 years later I'd say he made the right move personally and professionally. "The Sky Is A Neighborhood" doesn't take long to shed its drum intro. The entire bunch comes into full blossom. Aren't enough superlatives to describe how demonic the chorus becomes. Nate Mendel gives great value on bass. Chris Shiflett nails 'em out of the park on lead guitar. The chord progressions deftly swing from major to minor at the drop of a hat. The Foos' harmonies are in tip top shape. That becomes deliciously obvious as the song wends its way along. The vortex has you surrounded. Resistance is futile. Save your dignity while you still can. It adds up to yet another heart stopping grade-A performance from a band that doesn't know how to suck. "The Sky Is A Neighborhood" makes my list of summer closing great places to visit. With Dave Grohl once again at the helm how could you refuse.

Nashville's Moon Taxi Blends Smooth and Scratchy Quite Capably

When the initial notes of Moon Taxi's "Too High" come fluttering in you're thinking: "How suave. This is the sort of tune that would sound fabulous while I'm nursing a vodka tonic at the local bar/pub." That's an easy conclusion to draw based on the power of vocalist/guitarist Trevor Terndrup's fine riff spinning alone. You can already see the lipstick smudge on the female patron's napkin. Would that a young stud was around to make kiss history. Trevor goes to the lyrical hall of cliches just a bit with sentiments such as "We can walk together with our hands up in the sky." Reference gets made to the world spinning out of control and needing someone to help you feel all warm inside. Heard it but as Moon Taxi offers up its interpretation I'm convinced it was worthy of adding to the pile that already has served this war cry up. "Two High" isn't entirely trying to woo you into its satin sheet endowed bed. There's a crunchy side to this well played edible. Programmer Spencer Thomson and keyboardist Wes Bailey deserve the lion's share of the credit for that truism. Pure beef blasting from those instruments. Really feisty and difficult to resist. In the studio I suspect a lot of polish went into making sure the finished product ended up gleaming like a fresh cut gem. Trevor's words calm even the most angst-riddled disposition. You sense that light at the end of the tunnel really isn't some torturous myth conjured up to bring false hope to the emotionally desperate. "Too High" comes across as an ideal selection for a winter's night curled up by a warm fire. Trevor's voice and guitar match beautifully in this scenario. Drummer Tyler Ritter has a nice accompanying presence that slides across the melody like Stubb's BBQ sauce slathered across a brisket plate. Whether in plugged in gritty mode or light as angel food cake. Trevor easily sets a mood no woman could refuse. Moon Taxi makes "Too High" look too easy, and that's not a condemnation on my part. Moon Taxi's tight teamwork carries the day. High fives all around for "Too High". That's what's called making studio time count for something.

Man!!! Is This New Killers Joint a Dance Hall Delight!!

The Killers' lead singer Brandon Flowers has charisma in spades, and he puts it to good use throughout the band's sweat commanding new single "The Man". Get a load of the video if proof is what you need. It's his world and we're privileged to live in it. Up and down the track swagger power drives this baby. The entire crew kicks into fifth gear and what results is a danceable confection that leaves you with a luscious mouth feel that lasts for days, weeks, even months. Brandon's liberal sprinkling of keyboard fill gives the song the megawatt boost that sends it into legendary status. Ronnie Vannucci, Jr. gives his drum kit a mighty healthy workout, thus offering background machismo for Brandon to feed off of. Dave Keuning's guitar leaps off the page and sends visions of Trojan condoms dancing in the listener's head. Bassist Mark Stoermer is no slouch in the randiness department either. The puzzle pieces fit triumphantly but...this puzzle needs someone to start tinkering with it to give it the curiosity factor a quality rock song demands. One needs only take a peek at the lyrics to get some idea how good Brandon Flowers is at horsing around. He doesn't give a damn about those other boys and why should he since he wears the crown while his imitators have to settle for kissing the ring. Brandon unloads the textbook definition of player by crowing about he has gas in the tank and money in the bank. Wouldn't you just kill to be him, the him the video plays up as master of his domain? Don't try to teach Brandon anything 'cause he's too gifted for words. Ladies, here's some USDA certified lean meat the local Publix doesn't have in its display case. Who wouldn't enjoy the company of a man who feels no pain. "The Man" has to be the first time in history where the lyric "I got skin in the game" was included. In short "The Man" owns its rock moment. The Bee Gees, both living and dead are likely smiling at the page The Killers stole from their playbook. It's channeling all sorts of libido, pushes itself to the limit energy wise and is flat out a damn huge amount of fun. These man pants are a thrill to wear even if we get the invitation vicariously. https://youtu.be/3VsHqbyRz5c

Thirty Seconds To Mars Drowns In Its Own Bombast

It's that chorus that dooms Thirty Seconds To Mars. Every time you think you're going to catch a breather that blasted chorus comes back asking the needless question "Do you believe that you can walk on water?" If I haven't figured out by now that the answer is no then there really is no hope for me. "Walk On Water" does have some things going for it. Vocalist Jared Leto's pipes are in fine shape even if he uses them in the service of over the top patriotism that, while very touching, isn't what this planet needs right now. Tomo Milicevic gives this outing a decided keyboard sheen, proving the production values were top notch. Shannon Leto adds a workmanlike performance on drums that only heightens the pathos the video is trying to put across. Impressively it was filmed in one day, that day being this past July 4th. There are snippets of real Americans doing everything from swimming to boxing to skateboarding. Thirty Seconds To Mars is proclaiming "This is our way of life people! Try and compromise that on our watch. This threesome's energy cannot be denied. They lose themselves in the material, no apologies forthcoming. At a shade under 3 1/2 minutes that's a lot of oomph to unleash but Thirty Seconds To Mars appears in it for the long haul. If inspiration was the goal the band didn't find its mark, largely in part due to the over the top visual imagery nestled in lyrics such as: "Listen up hear the patriots shout 'Times are changing' Changing times are a common thread in this song. Again, I am imagining the goal is to get the apathetic among us to get off our butts and find something to change about our troubled world that's giving us fits. Is it heavy handed? Sure, that's a legitimate gripe. Here we are in 2017 and the USA still doesn't know what it wants to be when it grows up. As a consequence bands like Thirty Seconds To Mars roll out the booming sounds they know will get the beer taps flowing and alpha males on the warpath. "Walk On Water" reminds me of the nerdy kid in elementary school who was always shouting "Pick Me! Pick Me!" because he had practically all the answers in class and couldn't help reminding everyone else how much smarter he was in comparison to them. As a result "Walk On Water" hints at a lot but delivers very little. At present people's lives are going through the shredder. A track like "Walk On Water" doesn't lighten loads, it drowns the entire community. A slightly softer touch would have worked better. As it stands I'm begging for the opportunity to towel off.