We Are The Ocean – Go Now And Live (25/04/2011 – Hassle Records)

     ‘Go Now And Live’ is the second studio album for post-hardcore/pop punk band from Essex, We Are The Ocean. After forming in 2008 and supporting bands such as The Blackout, You Me At Six and Funeral For A Friend on tour, they have brought together a strong set of fans anticipating the release of this album. After managing to sell out most venues on their very first UK headline tour, two EPs and a debut album, their fan base has expanded ever since. Produced by Pete Miles, who has also worked with The King Blues and Canterbury, ‘Go Now And Live’ sets We Are The Ocean on the road to success, despite many detractors.

     Commencing with a false start effect, ‘Trouble Is Temporary, Time Is Tonic’ is a tongue twister of a track, that plunges the listener straight into the albums’ depths. With We Are The Ocean’s signature blend of scream and melodic vocals, topped only by the likes of A Day To Remember, as well as blaring riffs topping off the blend of sounds. However, as the track progresses, it appears that lead vocals from Dan Brown have been tampered with in the studio somewhat, as well as the rest of the band, subsequently tarnishing the band’s organic sound found within previous work, specifically ‘Nothing Good Has Happened Yet’ from their self-titled EP, which remains untouchable. With pseudo gang vocals found in this chorus, ‘I’ve been told just to give it up, give it up...’, and the regular call and response format employed by the two vocalists. Overall, this first track provides a taste of what is yet to come from the remainder of the album, and thus far, it is worth continuing.

'Go Now And Live' Artwork

      Second track, ‘What It Feels Like’ was released as a single on 4^th January 2010. With its gritty yet gentle arrangement, entwined with priceless evocative lyrics, ‘You’ve forgotten what it feels like to be loved...’ , it’s a killer. This is one of those tracks written for crowd control at gigs, despite a steady tempo. Yet two minutes into the song would be a flawless ending for it, with Dan Brown almost singing acapella and seemingly drifting into the following song. But when ‘What It Feels Like’ set off again, the element repetition becomes slightly tedious.

     Unusually, the following track ‘The Waiting Room’ was also released as a single on 21^st March 2011 in anticipation of ‘Go Now And Live’. This is because singles are typically the tracks that are best produced on the album, with most attention to detail provided, and this is not untrue of these two tracks. ‘The Waiting Room’ perfectly utilises the band’s call and response method, simulating a discussion of an overflow of emotions between the two band members, along with the fantastic blending of vocals. The breakdown before the final chorus depicts the band’s creative instrumentality and the tender vocals conveys a versatile vocalist in Brown, although the coarse form of this voice is outstanding. Additionally, We Are The Ocean’s lyrical skill is well portrayed throughout this track,’ and I’m falling faster than I’d really like...’, proving that mood-driven songs can be heated and intense. The track is so energetic that it demands your full attention.

     ‘Runaway’ begins as an apparent ballad, notably slotted onto every rock band’s album for a bit of variety, but twenty seconds in, the band’s various musical methods are thrown into view once more. Their use of steady guitar and drumming is reminiscent of the likes of Snow Patrol, ‘I said some things just to comfort your heart’ yet they manage to retain their own influences with the straightforward rock melody. ‘Trials And Tribulations’ showcases Liam Cromby’s salient stamp on the We Are The Ocean’s music as well as their variety in terms of song writing.     

     Sixth song ‘Overtime Is A Crime’ is punchy and gig-perfect, and is yet another track that does not revert back to dull pop-ridden rhythms used by more and more ‘rock’ bands of late. ‘Godspeed’ exercises one of the oldest tricks in the rock band book; beginning a track with a steady, singular drum beat and building up the rest of the elements around it. But what is interesting about We Are The Ocean’s take on the technique, is that there are so many fused layers and components to each of their tracks that the listener is more inclined to focus on the music itself rather than its construction. Making use of heavy harmonies and instruments for dramatic build up or effect is something the band does very well. It is more difficult than you may think to throw a softer guitar solo into the spotlight in the middle of a track after a vocal fronted piece.

     ‘Now And Then’ is comparable to poppier bands such as Scouting For Girls , but with vigorous vocals and emotional overtones, ‘I won’t cover it up, just give me time...’it is an enlightening take on the rock ballad. ‘Follow What You Need’ is peppered with the best We Are The Ocean elements, but unfortunately, they all appear in an odd order, making this the weakest track from ‘Go Now And Live’. The repetition of ‘follow, follow what you need’ throughout most of the chorus is nothing but dreary, and with lyrics such as ‘Just be yourself...’ are far too cliché! Understandably, bands often write songs based on something specific, but very personal, and therefore never concretely referenced, but a notable anecdote may have saved this tiresome track.

We Are The Ocean

     The mixture of macho retort and positive energy from ‘Before I Die’ is a great send off for the compilation, illustrating that they can order songs effectively, which makes me question why the two singles were placed together. Pieced together with all the extra dimensions thrown into the rest of the album, ‘Before I Die’ documents that post-hardcore bands can provide hope through their music, ‘Before I die, I’ll make sure I’m alive...’, expressing how well rounded and developed the band have become, especially by keeping their musical influences at arms’ length and pin-pointing their collective personality and soul.  

     We Are The Ocean have released a depiction of a decade’s worth of musical development in just twelve short months and despite the associational vocal edit, lusture-lacking track and generic instrumental elements, ‘Go Now And Live’ is confident, emotional and full of hope.

   

4/5

All Time Low- Dirty Work (06/06/2011– Interscope Records)

     All Time Low, a Baltimore born pop-punk quartet formed in 2003, released ‘Dirty Work’, there fourth studio album, marking the band’s move to major label,Interscope. Perhaps it is this change that has influenced the variation in All Time Low’s original sound. Unfortunately, this records illustrates an apparent experimentation with sound and style, but All Time Low have lost the magic they used to have; their sharp and witty yet harmless lyrics combined with powerful pop and ballads have been erased and replaced with a soulless slap in the face for fans that were promised an honest record.

'Dirty Work': Artwork

    The band used to be unconventional, but well-liked by the pop-punk scene, but as they have seemingly attempted to leave the scene, they have been unable to redefine themselves well. Instead of creating a new style, they have really hit a brick wall, proving that it is important for bands and artists to stick to a genre of some kind. ‘Do You Want Me (Dead?)’ appears as sharp as comic as ever, but as the track begins, it is clear this is not the case. From the outset, the ‘guitaring’ is almost laughable and the introduction does not fit together somehow, despite the fact that the album’s release date was pushed back by several months, giving the band more time than expected to tweak any details such as this. Frontman Alex Gaskarth’s voice has been tampered with all too much, and the fake echo used on this track does not suit the band at all. As the song kicks it, it’s a kick in the face for fans expecting a meaningful yet comic track. The melody is simple and limp, but as the song progresses, it is obvious the record will be catchy, but not in a good way.

     Second track, ‘I Feel Like Dancin’ was released separately as a single on 05/04/2011, and after reviewing it myself, I had hoped this track was an lone experiment, but the remainder of the record follows a similar road; with a loss ofAll Time Low’s individual vigour found in their previous work. Making use of words such as ‘shawty’ and ‘crunk’, this song was, according to the band, created as a mocking of modern popular music, displaying just how nonsense-filled it really is, despite being co-written by Weezer’s frontman Rivers Cuomo. However, as the rest of ‘Dirty Work’ is very similar to ‘I Feel Like Dancin’, making All Time Low either hypocritical or oblivious of the same themes appearing in their own music.

      Continuing the in un-inspirational direction, ‘Forget About It’ utilises voice variation and dance-inspired elements designed to block the listeners’ attention from the vocals. Although melodic, All Time Low have hit rock bottom by becoming lyrically lame, ‘You know, there are some days when I really feel like this could work. Like, you and I are finally gonna get it right. Then there are days like today, when you make me want to tear my fucking hair out." Understandably, relatable lyrics are the key to emotionally connecting with fans, but there is no heart placed into the lyrics themselves, as if they are the first draft of a work in progress. ‘Guts’, supposedly the new ‘Vegas’ (‘So Wrong, It’s Right’, 2007) commences with a start stop outline eventually crashing into off-beat drumming and more over-edited vocals. The sound of the chorus is almost pleasing, until you hear the pointless lyrical input that is, ‘I’ve got the guts to say anything...’. Where are the notable anecdotes from funny or emotional love stories?

     ‘Time Bomb’, if nothing else, makes an attempt saves this album. It hints at the ‘old’ All Time Low, with more natural vocals, actual audible use of instruments, a haunting yet varied melody and steady, crunchy pop-punk beat, it is everything that the rest of the album should be made up of. With a track such as this, you can visualise the venue yelling and shuffling along. ‘Just The Way I’m Not’ is immediately reminiscent of The Big Pink’s ‘Dominoes’, but with nothing but unnatural vocals and a back-beat, it is a wonder the song made it onto the record. It’s a track that will stick around in your head, but one you’d rather drown out with whatever you can. Seventh track ‘Under A Paper Moon’, ‘Return TheFavour’ and ‘No Idea’ are nothing but monotone, and the band’s only attempt of a ballad or sentimental song on the compilation, aside from acoustic versions of other tracks, ‘A Daydream Away’ has nothing on the band’s back catalogue of love songs; it is unrepeatable and almost fickle for a love song.

All Time Low? Exactly.

     ‘That Girl’, ‘that girl, she’s such a bitch’. Need I say more? Like the rest of the album, there is no heart or theme for this track, it is both dull and meaningless. Final track, ‘Heroes’ is anything but heroic. Its lyrical imagery if you man ‘you’re not a hero, you’re a liar, you’re not a saviour, you’re a vampire, sucking the life out of all the friends you’ve ever known...’ is laughable. Bonus track ‘Get Down On Your Knees And Tell Me You Love Me’ is the second best track from ‘Dirty Work’ and it is criminal and baffling as to why it is not actually on the record. Other bonus tracks‘My Only One’, ‘Bad Enough For You’ and (appalling) acoustic attempts of ‘I Feel Like Dancin’ and ‘Time Bomb’ revert back to the disappointing sound from the rest of the record.

     Blunt, honest, yet tinged with emotion, the old All Time Low were edgy and tinged with dramatic drive. Aside from one or two tracks, the band have lost their way with this new sound on this album. Track after track of immature meaningless melodies, the soul has disappeared from their sound, with no individuality or rock edge in sight. ‘Dirty Work’ is a slap in the face for their fans! All Time Low? Exactly.

   

1/5

Coldplay – Every Teardrop Is A Waterfall (03/06/2011– Parlophone)

      Coldplay, probably the most famous alternative rock band on the planet, released ‘Every Teardrop Is A Waterfall’ a few days ago to give fans a taste of what is to come when their yet-to-be-named album eventually drops in the next few months. If this song track is anything to go by, the London-based band has hit the jackpot yet again.

'Every Teardrop Is A Waterfall': Graffiti-Inspired Artwork

           Written by the entire band, with assistance from various co-writers, a monster track has been formed. Coldplay have always done admirably with writing timeless tunes, full of vim and vigour, and never selling out. Yet to be honest, when I heard the first lyric of ‘Every Teardrop Is A Waterfall’, my heart sunk, ‘I turn the music up, I got my records on...’. And despite the seemingly morbid title, the track is uplifting to say the least, with one of Jonny Buckland’s infamous riffs and a strong and steady backbeat of military marching drums driving the piece, as found in ‘Viva La Vida’.

      The band are also well known for being one of the first emo bands with their depressive undercurrent, but although their sound has not varied considerably since most recent album ‘Viva La Vida Or Death And All His Friends’ , there is something comforting and calming about this song. Along with their timeless qualities, Coldplay manage to compose music for any person of any age; just someone who simply appreciates their inspiring lyrics and stunning melodies, this song being no exception. Although, fans of the band will note the lack of leading piano on this track, adding to its optimism. Commenting on a true love for music, ‘I feel my heart start beating to my favourite song...’ the track can make a connection to so many people.

Promo Shots: Coldplay

           Additionally, with elements from the 1976 song ‘I Go To Rio’, Coldplay, this pop song laced with rock ‘n’ roll elements is both moving and blissful. Having received many a Radiohead comparison through the years, Coldplay have turned a ‘poppier’, repetitive corner over the last few years. ‘Every Teardrop Is A Waterfall’ marks a continuation of the bands high standards of produce, with a track that is bold, bright and when placed with harmonic layers and Chris Martin’s wonderful vocals, it’s a killer.

      Coldplay happen one of my favourite bands of all time, but I listened to this track neutrally and was not disappointed. Whether you are a Coldplay lover or hater, this single is undoubtedly addictive and escapist, and you can practically hear a sold-out chanting arena.


5/5