Years- All We Have Is Now (July 2011)

    Years, formed in Manchester boast influences from Rock and Pop Punk heavyweights such as Jimmy Eat World, You Me At Six and Paramore, and have played shows with the likes of Save Your Breath and Man Overboard. The EP, ‘All We Have Is Now’ was recorded in July this year in Stockport and the band claim they are all ‘very proud’ of the final outcome.

           Their influences are more than clear from the get go with first track ‘Here’s To You’. Although they are musically capable they fail to stand out from other emerging pop punk bands. Although vocals are strong they have yet to define themselves as a band collectively, and overall, their sound is very similar to We Are The Ocean. It also appears that the band are used to playing live shows and their songwriting is formed around crowd pleasing aspects for future performances but are currently characterless as a band.

     The introductory melodic elements of title track ‘All We Have Is Now’ are beautiful if a little repetitive, particularly because vocals do not kick in until almost a minute into the track. Again, influences are incredibly clear once again, specifically in relation to the Paramore track ‘When It Rains’(Riot, 2007). Additionally such a gentle backbone of melodic work does not bode well with such a deep, and frankly hit and miss and emotionless vocal. Yet it is clear that the band have put a great deal of time and effort into this track in particular as it is the best produced. It also depicts the vocalist’s skill better than the remainder of the EP put together.

Years' artwork: 'All We Have Is Now'

     ‘Runaway’ begins with heavy inspirations from You Me At Six, and their track ‘Stay With Me’(Hold Me Down, 2010) in particular. Although Years’ vocalist is alike to We Are The Ocean’s, Years’ sound fails to be as epic or interesting. The vocalist may also have a groundbreaking vocal range, but it is never utilised, which makes each track appear very monotone and rather generic.

      Years have done well with regards to track positions, with a good mixture of ballad based songs and their more upbeat work. However, ‘Hide And Seek’ is limp and may not highlight the band’s abilities or potential. ‘Waiting’ is a nice attempt at a big ballad finale but even with gang vocals, it fails to excite and is, in fact, monotonous.

      Overall, Years are in desperate need of discovering their identity and not relaying on their influences from such world renowned bands. Also, being more specific and personal when it comes to songwriting may help spark emotion for the listener because, ‘Call me whenever you need me...’ are dry and dreary and very conventional, but for all the wrong reasons.


2/5

Lostprophets–Liberation Transmission (26/06/2006-Visible Noise)

      Lostprophets were formed in 1997, in Pontypridd, originally as a side project post hardcore band known as Public Disturbance. As it stands, Liberation Transmission is Lostprophets’ third of four albums released to date and has gained them various Kerrang! Awards and nominations peaked, at number thirty three in the Billboard 200 Chart and went Gold in the UK with over 27,000 copies sold. Approximately a year prior to the official release of Liberation Transmission, founding member and drummer Mike Chiplin left Lostprophets to pursue ‘other musical opportunities’. The album’s artwork which reads ‘Nobis Pro Lemma Vobis’ which loosely translates as ‘For us, for them, for you’, a lyric taken from the band’s 2004 single ‘Burn Burn’ from previous album ‘Start Something.’

     Liberation Transmission opens with the thunderous ‘Everyday Combat’, which sets the listeners sights high for the remainder of the record. Made up of a pop punk style chorus, ‘walk on streets, on fire...’, guest screaming vocals from Sean Smith (The Blackout) and a thunderous guitar solo or two. The track commences with the ear splitting sound of speakers being ignited, setting the scene for a loud listen. Perfectly arranged, with a call and response dynamic running between faultless lead vocalist Ian Watkins, gang vocals and edgy guitaring. A pop punk/rock song with a kick is a common theme for this track and the remainder of the album and the genre hopping Welsh quintet do not fail to deliver on any of the dozen tracks. It is certainly surprisingly to learn that ‘Everyday Combat’ was not released as a single, considering the punchy without being poppy quality from start to finish, ‘don’t think you’re safe ‘cause it’s not over!’.

Liberation Transmission: Artwork

    Second track, ‘A Town Called Hypocrisy’ was sold as a single from 11^th September 2006 and consequently reached number 23 in the UK singles chart. It would have been a perfect opening to the album but as ‘Everyday Combat’ is heavier; it is easy to tell why it was chosen instead, as it is a gentle welcome to old fans used to Lostprophets’ sound from their previous two albums. Similarly to ‘Everyday Combat’ however, ‘A Town Called Hypocrisy’ is gritty, flavourful and very dynamic, ‘Save your sympathy!’, with flawlessly entwined lead and backing vocals as well as instrumentality. This track also verifies the fact that the band do not belong to any music scene in particular, yet still manage to genre hop admirably; from pop to rock to metal to pop punk.

     Despite having released ‘The Betrayed’ in January 2010, Liberation Transmission truly marks Lostprophets’ peak in terms of sound and overall production. ‘A New Transmission’ follows suit, retaining concise lyrics, ‘Take, take, take all my time all my company, take everything from me...’ and a heavy gig vibe. The band even manages a breakdown into a piano section and some ‘woahs’ without turning into Westlife, followed by a signature colossal chorus. ‘Rooftops (A Liberation Broadcast)’ is the token tearjerker for the CD yet also comes across as a ‘feel good’ summer hit. Yet by the second verse, Ian Watkins’ vocals and Lee Gaze’s lead guitar become very rhythmic, and similar to Green Day and their 2003 album ‘American Idiot’. ‘Will we make our mark this time?...always said we’d try...’ will stay with you like the common cold, and overall ‘Rooftops...’ is the natural sequel to ‘Last Train Home’ (‘Start Something’, 2004); heavy and heartrending.

     Fifth track ‘Can’t Stop, Gotta Date With Hate’ proves that Lostprophets can conjure every single track on an album to be a stormer, despite some emotional guitar at the beginning, and more than worthy at being played live, ‘Cause I see nothing in those eyes...’. ‘Can’t Catch Tomorrow (Good Shoes Won’t Save You This Time)’ is definitely the band’s most indie based song to date without a loss of the coarse vocals. Released as a single from 27^th November 2006, the track is forceful yet bright and comes full circle to a complete end, conveying the strong abilities of the band in terms of songwriting and track arrangement. They also depict the possibility of writing emotion based lyrics without ballad type melodies accompanying them, ‘Maybe someday you will know, maybe someday you will end these tears and go!’.

     Something to note about Liberation Transmission is that every single song could be released as a single and potentially warmly welcomed by fans, because although Lostprophets utilise a number of genres and styles, they have developed their sound and retained it throughout the album. ‘Everybody’s Screaming!!!’ and ‘Broken Hearts And Torn Up Letters’ are certainly no different, and with these two tracks in particular, you can hear the confidence within the band in terms of who they want to be as musicians, ‘You’ll regret it all, livin’ behind your walls and you’ll never fall in love if you don’t fall at all!’ ‘4:AM Forever’ is caresses your ears like a gentle breeze; beautiful from beginning to end, and not tarnished by a harsh chorus.

Lostprophets in 2006

    The opening of ‘For All These Times Son, For All These Times’ suggests a metal-esque track, followed by Watkins’ scream based vocal. Lostprophets are not oblivious to the power of call and response within a piece of music, and how effective it can be at gigs, ‘Lipgloss lies, doin’ the time, never gonna miss what a left behind...’.  ‘Heaven For The Weather, Hell For The Company’ is not only another excessively long song title almost on par with the likes of Fall Out Boy, but if the weakest track from Liberation Transmission had to be named this would be it, slightly limp lyrics and rhythms with other instruments. Brining the record to a close is ‘Always All Ways (Apologies, Glances And Messed Up Chances’) which marks Lostprophets’ flawless style blending, which The Blackout have also achieved.

      With metal, pop punk and rock as well as moments perfect for Radio 2, Liberation Transmission is a speedy, sentimental slap in the face in the best way possible.         

         

5/5

Ed Sheeran- + (12/09/2011- Atlantic Records)

     Ed Christopher Sheeran, from West Yorkshire is a twenty year old singer songwriter who began recording in 2005 when he was just fourteen. After auditioning for Britannia High in 2008, playing over 300 gigs in 2009, and releasing several EPs, Sheeran’s fan base swelled without connection to any label or management team.  His final independent EP, ‘No. 5 Collaborations Project’ reached number 1 in the iTunes chart, selling over 7,000 copies in its first week alone, even coining his own genre, 'acoustihop'. 

     +, Sheeran’s first full length studio album commences with ‘The A Team’, which was also the first single to be released from the album on 10^th June 2011, peaking in the UK singles chart at number 3. Although, hypothetically, a debut single is the first welcome to listeners to a debut album, this track is the most beautiful and best written on the entire compilation. Telling the story of a drug addicted prostitute and is stunning in its sheer simplicity, ‘slowly sinking, wasting, crumbling like pastries, and they scream, the worst things in life come free to us.’

     Second track, ‘Drunk’ reveals Ed Sheeran’s hip-hop edge and although he currently has a major label assisting with production, every track is written by Sheeran himself. Despite the presumption that any song with ‘Drunk’ within the title is likely to concern how wasted you feel, Sheeran opts for in depth personal emotion, ‘I wanna hold your heart in both hands, I’ll watch it fizzle at the bottom of a Coke can...’. Thankfully, Sheeran has taken notice of that fact that personal songwriting creates unique songs that are likely to help sell more records and establish an emotional connection with the listener.

'+': Artwork (A pastel drawing by Phillip Butah, London)

     ‘U.N.I.’ illustrates an interesting aspect of Ed Sheeran’s musical style, which is his rap based elements coinciding with classic acoustic elements. He has the ability to vary tempo very rapidly without allowing it to affect the quality of the track or disallowing the listener to actually understand what is being sung. He also utilises a technique that is traditionally only used by artists of the hip-hop and rap world; the use of unusual metaphorical references, ‘they’re more like tsunami tides in my eyes...’. After listening to just three tracks, it is clear, whether material from a singer songwriter is your cup of tea or not, that Ed Sheeran is a unique talent.

     Fourth track, ‘Grade 8’ cyclic, concise and catchy without need for fancy production or voice and instrument editing. ‘Wake Me Up’ is one of the most minimal tracks you will ever listen to. Although it does involve occasional strumming and chords, Sheeran employs his distinctive method of speaking in tune. Without using distinctive rhyming patterns or cheesy symbolism, this track dives into the mind and heart of Ed Sheeran, allowing the listener to understand precisely how he felt when he wrote this song, ‘And I know you love Shrek ‘cause we’ve watched it twelve times. But maybe you’re hoping for a fairytale too...’.

     The art of storytelling through songwriting is a rarity nowadays and from someone as young as twenty, it is groundbreaking. ‘Small Bump’, unsurprisingly, tells the story of an unborn child,’ you can wrap your fingers round my thumb...’ that is ‘torn from life’ after just four months. As well as his ability to break your heart with his narrative portrayals, this track also showcases Sheeran’s stunning singing voice. ‘This’ is similar in style to ‘Wake Me Up’ as there is very little addition to the timeless combination of guitar and voice, allowing the listener to comprehend the purity of Ed’s talent.

     ‘The City’ is a welcomed variation within the record, revealing more hip-hop and rap based influences, specifically, beatboxing. Along with a drumming back beat, 80s style guitar chords, piano and backing vocals, the poppiest track of the album is constructed. Set to be released this month (September 2011), ‘Lego House’ reverts back to the guitar and vocal combination, as well the occasional rapid tempo providing rap based vocals, ‘and of all these things I’ve done I think I love you better now...’. All in all, this track is stunning. ‘You Need Me, I Don’t Need You’ is also sold separately as a single from 26^th August 2011 and is the best produced track of the record and well as the most rap based; an angry song without screamo or heavy guitar riffs, ‘Does he write his own tune? Does he write his own verse?

     ‘Kiss Me’ is a calming and exquisite ballad; uncomplicated in every way but the emotion it depicts. Like the title itself, lyrically this song is fantastic, ‘cover me up, cuddle me in, lie down with me, hold me in your arms...’, ‘...lips pressed to my neck, I’ve fallen for your eyes, but they don’t know me yet.’ Although, ‘Kiss Me’ would have been a welcomed finale to the record, ‘Give Me Love’ follows and completes the CD admirably, and if nothing else, is inspirational. Hidden track ‘The Parting Glass’ commences with its obvious tribal inspirations, drum beat and immense harmonies.

Ed Sheeran

     The deluxe version of ‘+’ consists of ‘Autumn Leaves’, ‘Little Birds’ and ‘Sunburn’ depict distinctive and gentle yet soulful vocals whereas ‘Gold Rush’ has a similar reggae style introduction to Bruno Mars’ ‘The Lazy Song’. However subtle it is a bad idea to release a track that alike to another. Luckily, ‘Gold Rush’ is primarily occupational and relationship based, ‘I never told her that I liked the way she dances slightly out of time...’. Ed Sheeran is lucky to possess the rare capability to write cute, edgy love songs without being cheesy.

      Arugably, the individual singles should be spread throughout the record, as well as the variety of themes and techniques in order to make the album flow better. Although charming, after five or six tracks, acoustic songs can often become very monotonous, but with Sheeran’s hip-hop influences, and curious vocal abilities this is simply not the case. For a debut, this record is astonishing, and Sheeran’s EPs have clearly provided him with priceless musical and recording experience as well as intent to be unique without transforming into the likes of Lady Gaga. It has been a long journey thus far to this peak, but Ed Sheeran’s future is as bright as his hair.

4/5

The Inbetweeners Movie- Film4/E4 (17/08/2011)

     When ‘The Inbetweeners’ burst onto TV screens around the UK back in 2008 and from what started life as a hysterical sitcom of almost cult status, it has now been transformed into one of the most highly anticipated movie events of the year! The film reached number one at the British box office after just one day mainly due to the success of the TV series, fans of which will not be disappointed. On occasion, translation from the small screen to the cinema can be tragic, but fundamentally, ‘The Inbetweeners Movie’ is an hour and a half classic episode.

'The Inbetweeners' Movie'

      Directed by Ben Palmer, the priceless plot follows the four heroes, Will (Simon Bird), Jay (James Buckley), Simon (Joe Thomas) and Neil (Blake Harrison) on their first holiday abroad without their parents. Naturally, there are epic fails and laughs aplenty along the way. What makes this film work so well is the fact that the characters are precisely the same as they appear in the television series, and there is a strong enough storyline to carry the movie as opposed to irrelevant laugh after laugh. Will remains as uptight as ever, Simon as hopeless as ever, Jay as hilariously dis-honest as ever, and Neil just as hysterically slow. As the film is so highly entertaining, this value comes at the expense of the four main characters and their impossibly high hopes. However, the film does depict the Inbetweeners sharing the spotlight with four girls, which works surprisingly well on screen as they are not quite overshadowed. 

 

     As usual, pretty much every attempt to get a girl falls right back in the boys’ faces and Simon is still desperately hung up on and inevitably after Carly, who fans of the TV show will know has been a reoccurring storyline throughout the three series. Although some of the gags can come across as crude and somewhat vulgar, the target audience is sure to understand them immediately, and essentially, they carry out their purpose of enhancing the humour. Colloquialisms such as ‘chirpse’ and the mandatory ‘clunge’ make appearances in the movie which simply make the characters more approachable and real to the audience.

'The Inbetweeners' Movie' cast at the world premiere in London

     Although ‘The Inbetweeners Movie’ relays heavily on the performances of the four likeable main characters, they all deliver the goods. Think four boys to booze-drenched Malia, along with fall outs, humiliation from the opposite sex, granny pulling, a happy ending for once, along with plenty of Neil’s classic moves. The film is definitely worth seeing, if only to watch the boys reach for the exhausting and seemingly impossible goal of getting laid.

4/5

Kids In Glass Houses- In Gold Blood (15/08/2011- Roadrunner Records)

    Kids In Glass Houses, a quintet from Cardiff started life with support slots for the likes of Lostprophets, 30 Seconds To Mars and Manic Street Preachers in late 2006 and early 2007. After several variations in line up, their third full length EP ‘E-Pocalypse!’ was released in October 2006 and despite that they remained unsigned at the time, they received much praise within music media from Kerrang, NME, XFM and BBC Radio 1. It was clear that there was much attention surrounding Kids In Glass Houses and although they were beaten by Gallows for Kerrang’s Best Newcomber Award in 2007 followed by supporting Funeral For A Friend on tour in December.

      Their first album, ‘Smart Casual’ was primarily pop-punk based and a more mature sound arose from their 2010 album ‘Dirt’, which left them with a great deal to live up to. Frontman Aled Phillips explained that ‘In Gold Blood’ would throw the band into a ‘radically different direction’ which is never something fans can take lightly. The album aims to fundamentally be conceptual and illustrate a journey through its tracks. The first track ‘Gold Blood’ was the first single to be released from the record on 5^th June 2011 and it certainly portrays the variation in sound. Beginning with a heavy, undefined and almost unrhythmic riff, it is clear the pop punk days of Kids In Glass Houses are well and truly gone! However, the steady beat and anthemic sound are welcoming and convey the band’s capabilities as individual musicians. Lyrically, the track is rather complex, especially for potentially young listeners and although there is no sentimental value, the song is catchy and effective, ‘When the golden gods and clowns come to save you, with gold blood...’.

      Without conventional rock hooks it can be difficult to entice the listener but with a title like ‘Teenage Wonderland’ the second track should be full of cheer and contentment. Instead, it is reminiscent of being young ‘When we were young, we made the mistakes that make us what we are today...’, without a trace of a tear jerking breakdown. Although a similar sound to ‘Matters At All’ (‘Dirt’), the track demonstrates how much the band have developed. ‘Diamond Days’ is also somewhat similar to ‘Matters At All’ and is the first song from the album to reference specific relationships of any kind, ‘I feel your body shaking...could be the devil talking...’, which is extremely rare for a rock band. The 30 Seconds To Mars esque, rapid back beat and strong instrumentation portray how hard the band have worked on the arrangement of each track and to (cliché as it may be), to appear as individual as possible but retain their appeal. The blend of each instrument is flawless and the unedited vocals of Aled Phillips are very refreshing and encouraging for up-and-coming live shows.

Artwork: 'In Gold Blood'

     Fourth track, ‘Not In This World’ is the signature crowd pleaser as it commences with light gang vocals, ‘na, na na na na...’ and proves how much Kids In Glass Houses intend to be accepted. Although the track takes over thirty second to actually come together, it is remarkable how well Kids In Glass Houses have managed to pin-point precisely who they intend to be as a band. Particularly within this song, Phillips’ voice is both unique and powerful, especially when he truly opens up his vocals. The riff, drumming and continuation of gang vocals blended with the melody is faultlessly faded out and is clearly an intended final song for future performances. ‘The Florist’ exposes the vocal range of Phillips’ and how a melody with a collective pronoun, ‘If we want what we need...’, can bring musicians and fans of music together. The wave of full power to a gentle melody and back again and later into a horn section followed by a classic rock riff is seamless.  Additionally, the personal element of the lyrics establishes a connection with the listener and charts the progress of Kids In Glass Houses’ audience connection techniques; ‘I remember the day the music died, I remember the way my mother cried when daddy went to war...’.

      Released as a single on 7^th August 2011, ‘Animals’ begins with steady drumming and guitaring and evolves into an off beat, soulful rock song. ‘Only The Brave Die Free’ utilises a brass section as it commences, proving the potential diversity of the rock world as well as the extensive production process carried out by Jason Perry, that has obviously been necessary to create ‘In Gold Blood’.  Although this track would not be out of place in a hope-filled musical, it is provides a glimmer of the band’s former ‘Smart Casual’ sound and ‘Easy Tiger’ in particular. It is interesting to note that Kids In Glass Houses have remained with Roadrunner Records since their very first record yet have retained their sense of self, expanded their fan base and enhanced their production and style in four short years.

Kids In Glass Houses: 'Gritty, refreshing and sharp...'

     Eighth track ‘Annie May’ appears as the weakest track of the album thus far with its limp verses yet the chorus is the saving grace due to how raw and rough around the edges Aled Phillips’ vocals are. Even though this song is by no means a conventional ballad, it depicts how diverse Kids In Glass Houses are as song writers and musicians. The track also acts as a potential half-way point in a gig set list.  ‘Fire’ is full of funk, wit and eventual vigour although lyrically, it is somewhat disappointing in its simplicity and bluntness; ‘We walk into the fire, fire. We dance into the fire, fire. The flames are getting higher, higher...’.  The saxophone section is very ‘Mellow Magic’ but somehow appears as the track’s missing link as violin solos seem the perfect addition to Yellowcard’s work. It also adds an exciting element for tours yet to come. Moreover, the curious drumming solo to close the song is something very rare and effectual. ‘Black Crush’ is unavoidable but unfortunately very weak whereas ‘A God To Many Devils’ is astounding vocally, particularly the medley of the album’s content towards the end.

    Gritty, refreshing and sharp, ‘In Gold Blood’ is a record that, if nothing else, is likely to establish Kids In Glass Houses as mature musicians full of energy and enthusiasm.  Even though the two singles from the record are actually the heaviest tracks which is misleading to say the least, each chart-ready chorus is unblemished and distinctive.

4/5

My Chemical Romance– Danger Days: The True Lives Of The Fabulous Killjoys (22/11/2010 Reprise)

    Formed in New Jersey back in 2001, just a week after the September 11^th terrorist attacks in New York, My Chemical Romance, despite losing two members, have triggered a new sound with the release of their fourth record, ‘Danger Days: The True Lives Of The Fabulous Killjoys’. Making a name by touring with the likes of Avenged Sevenfold, Green Day and Fall Out Boy, they were well established by the time they were signed to the major label Reprise Records. When their third album, ‘The Black Parade’ went on sale in October 2006, My Chemical Romance had thrown themselves head first into the re-vamped genre of emo, and appeared at the forefront of which until the construction of ‘Danger Days...’.

     This fourth album, is anything but a straight up emo based record. Conceptually, it is set in the post-apocalyptic surroundings of California in the year 2019. It follows the lives of the ‘Fabulous Killjoys’, which also, believe it or not, includes nicknames for each band member, such as frontman Gerard Way who is named ‘Party Poison’, a name also shared with the eighth track of ‘Danger Days...’.  Commencing with ‘Look Alive, Sunshine’, a ‘song’ that lasts a mere twenty-nine seconds, is a feeble introduction to the rest of the album. It is simply a demonstration of the concept of the compilation, made up of tongue twisters and alliterations for only their biggest fans to bother to learn, ‘You’re here with me, Dr. Death Defying...your proctor, your helicopter...’. If you can bare the strain of such a pointless track, the most repetitive song ever written follows. It is clear My Chemical Romance have refused to let go of their somewhat overbearing conceptual theatrics.  

My Chemical Romance

     ‘Na Na Na (Na Na Na Na Na Na Na Na Na)’, (yes, that’s twelve ‘Na’s’ in total), was release just under a month before ‘Danger Days...’ went on sale and is a solid and simple establishment for the album. In fact, this track may have worked better as the beginning for the record with its punch in the face attitude. It is hardly earth shattering,  but if nothing else, the lyrics are easy to remember, making it festival appropriate. This track also illustrates My Chemical Romance running as fast as possible away from their woe is me reputation gained from ‘The Black Parade’, which is understandably difficult to shake off. However, with its fist pumping rhythm, repetition and emotion-lacking breakdown, ‘Everybody wants to change the world, but no one wants to die.’, they have well and truly eradicated it.

     Track three, ‘Bulletproof Heart’ instigates a simplistic piano riff, painfully dissimilar to that of ‘Welcome To The Black Parade.’ When followed by mind-numbing vocal edits on par with the likes of Jason Derulo, it is only forty seconds into the song when a real song commences. Although nothing special, it proves to the listener that there is some good music behind the conceptual and pop based barriers.  Limp anthem ‘Sing’ follows and it is probably the most well produced track on the album. With its screeching car, unnerving drumming, uncomplicated piano and somewhat sinister vocals, the scene is set for a half hearted reference to ‘everyone that you left behind.’ Released as a single in November 2010, ‘Sing’ depicts how little effect a potentially anthemic song has on the world when it is not ‘teaching’ the listener something specific (Rise Against, 30 Seconds To Mars etc).

     Also chosen as a single in March 2011, ‘Planetary (Go!)’ illustrates that My Chemical Romance have picked up on the fact that mainstream music is changing. Songs topping the charts over the last few months have been club based, and the beginning of this track is no different. Having managed to not eradicate instruments or their individuality completely, the song is hardly heart- warming but the eerie emo vocals and shrill siren opening the track are unavoidable, ‘There might be something outside your window, but you just never know...’. The chorus is dancy, full of funk, and festival perfect, not to mention the tempo variations and build up being entirely irresistible. ‘The Only Hope For Me Is You’ is made up of a magical, movie moulding foundation, but it is not the tear-jerker the listener may be expecting from the title, nor is it a huge track within itself.

    Lasting just twenty-six seconds, ‘Jet-Star And The Kobra Kid/Traffic Report’ stands as an intermission within the compilation which wouldn’t go unnoticed in a video game. ‘Party Poison’, the track named after Gerard Way’s ‘character’ is average and adds very little flavour to ‘Danger Days...’.  Ninth track ‘Save Yourself, I’ll Hold Them Back’ showcases Way’s vocal abilities better than most of the album and the likeable beat and harmonies make it vibrant enough to keep a gig crowd going.  ‘S/C/A/R/E/C/R/O/W’, inconvientiently spelt as such, although somewhat repetitive is clearly My Chemical Romance playing it very safe due to its obvious similar sound to ‘I Don’t Love You’ (‘The Black Parade, 2006).

'Danger Days: The True Lives Of The Fabulous KIlljoys': Artwork

     ‘Summertime’ could do with a little more instrument and vocal variation as it progresses due to it becoming rather cyclical quickly. Yet with its evident similarity to U2’s ‘City Of Blinding Lights’, it is one of the best tracks ‘Danger Days...’ has to offer. As the most sentimental track from the record, the soft vocals that Gerard Way conveys throughout are welcomed with opening arms after the overuse of the futuristic concept from the rest of the album, ‘When the lights go out will you take me with you?’. Twelfth track ‘DESTROYA’ depicts just how tedious a rapid and repetitive track can be, despite its Limp Bizkit, rap metal type influences. ‘The Kids From Yesterday’ is a song you could not skip if it popped up on your IPod. Despite the awful, ear-splitting and distracting wooden drumming throughout (light symbol rhythms are so underrated), it portrays a glimmer of the original emo scene, ‘sun goes black...’, ‘But you only feel the music when your heart begins to break.’ With indie esque ‘oohs’ and a portrayal of the progress of My Chemical Romance as musicians, this track would be at home on 30 Seconds To Mars’ ‘This Is War’ record. Perhaps also nicking the idea of a straightforward concept would have been an idea.

     ‘This is Dr. Death defying signing off...’ followed by the American National Anthem is not exactly something you find on your everyday rock record and there’s a reason it has never been tried before ‘Goodnight, Mr. Death.’ ‘Vampire Money’ is a rapid end to the album with a great guitar solo, gang vocals and pseudo live ending. Bonus tracks ‘We Don’t Need Another Song About California’ and ‘Zero Percent’ pretty much pin point the progression of My Chemical Romance from the emo boys to the overusers of an overcomplicated concept.

     From teen angst to supposedly glamorising suicide, (which would have been an unproblematic concept), My Chemical Romance still had time to create alter-egos for themselves alongside ‘Danger Days...’. Despite overcomplicating affairs, an intense, varied and high volume album was created.

 3/5

You Me At Six– Lover Boy (25/09/2011 Virgin Records)

 You Me At Six, a pop punk band from Weybridge, Surrey are set to release their third album on 3^rd October this year. The first single from which, ‘Lover Boy’ will be released 8 days prior and an official music video is expected over the next couple of weeks.

     ‘Lover Boy’ is fans’ first taste of what is to come from up-and-coming ‘Sinners Never Sleep’, and if it is anything to go by they will not be disappointed! Firing up with somewhat bland gang vocals, the track takes off when the thumping blues bass line begins. Despite it being simplistic, it sets the stage perfectly for a gritty and intense first verse. Written by the band themselves, this track is personal and bitter without being over the top. It defines some progression from the band’s previous compilation ‘Hold Me Down’ without varying their sound completely, which can be difficult to achieve.

'Lover Boy': Artwork

    The verses of ‘Lover Boy’ illustrate frontman Josh Franceshi’s astounding vocal abilities, proving the possibility of being an earth-shattering singer without being technically flawless. Serious You Me At Six fans will spot Franceshi’s live techniques shining through within the chorus, such as a trace of his Weybridge accent, ‘Don’t you feel bad, don’t you feel bad?’, as well as an insinuation of the original, post-hardcore You Me At Six, ‘of course I would...’.

     Overall, the likeability of this debut single from ‘Sinners Never Sleep’ is unquestionable and the temper filled edge of it lacks sentiment, which is something that adds to a worthy catchy song, ‘this is the night you’ll regret in the morning...’. If nothing else, the band prove opportunity for more artists and bands to write and release memorable material that is not pop based. You Me At Six have done well with regards to writing a relatable track for their fans, without being whiney, soppy, heartless and without screeching about sex, drugs and booze every other lyric.

You Me At Six

     With the gritty and grainy guitar solo and gang vocals, the track is also gig-perfect, particularly for an opener. Additionally, the boys have managed to avoid default pop mode like other bands of a similar genre and have successfully charted their progress as musicians, and undoubtedly people from previous work, despite ‘Lover Boy’ being described as the most similar to the sound of ‘Hold Me Down’.

4/5

Listen to the track here: http://www.youtube.com/watch?v=1slKomFgYBI