Atlas Sound "Parallax"

I didn’t have much to say about the last album, and not because it was bad; it was not my favorite, but it was also above my power to describe it. I’m not going to lie and say that this song gives me “The Shakes,” but my muse recognizes a more up-tempo starlight. Can light change tempo? The “Amplifiers” are rarely needed in what sounds like a song reliant on distortion, and open to relaxation and introspection; maybe even smoking something. The song’s main arpeggio sounds like a mutated default ringtone, but that is an observation and not a negative criticism, por que “Te Amo.” When I comes to “Parallax” it refers to apparent distance by different positions, but in this song it refers to the amount of pain one person has brought two different people. Does it seem like Chino Moreno decided to cover vocal duties for these “Modern Aquatic Nightsongs?” That is a serious question. The song seems to rely on the piano much less than the simulated hypnogogic effect created by what is present besides; at first I thought the song stunk, but after a few listens realized that it is much better than first thought. Then what follows seems to be one of the most energetic cuts off the record; so what seems to be a false sense of falling asleep is merely fading into a state of focus on those thousand galaxies floating behind the “Mona Lisa.” This “Praying Man” may sound like any other, but there is more to the story if you take the time to listen. “Doldrums” seems to be appropriately titled, but does anyone else see that there might be a floydian influence? We get it, your “Angel is Broken.” The next song may not take us to “Terra Incognita,” but instead seems to bring us to another state of mind, or instead to sleep on this train of mine. The last 2 and a half minutes of “Flagstaff” are purely instrumental in doing the opposite of preparing you for  some vibrant “Lightworks” in this harmonica-tinged Roy Orbison-esque cut. The Shakes, Te Amo, Parallax, Modern Aquatic Night Songs, Mona Lisa, and Lightworks.

Runner Runner

It’s “So Obvious” why this was not only the opening track, but their debut single as well, and if I really wanted to rhyme I can say that not only is there plenty of energy, but it’s catchy can’t you tell? The next song sounds like the boys went back to the Summer of ’69 for inspiration in what sounds like an update of the classic with dance-rock sheen and some hey’s. Two in a row, so far it seems like they are “Unstoppable.”  This song did not give me a “Heart Attack,” but it sounds different than the previous track; maybe it’s the invasion of dance robots! “Hey Alli” if you didn’t know, this one’s for you, and Hey Juliet, it might be for you too! The next song’s strings and rhythms are nice, and it sounded different from the other tracks; almost like the Newsboys delivered the morning edition with the headline “Life After You.” I think I am “Falling” in love with this next song, but I think the love is a lie; I’ll still give it a second chance and many listens regardless. “She’s The Kinda Girl” that inspires a sugary-sweet song like this, but no matter how much sugar they add the song will never be as sweet as her; it may be too sweet, but not as special as that girl. This next song sounds like such a great song to “Dedicate” to that special someone, and what’s even better is that there is a surprise in this song; I won’t ruin it. “I Can’t Wait” to tell you how great of a song it would be to dedicate to your girlfriend or boyfriend that you may marry. Let’s play hide and seek, ok? I’ll  “See you Around” and don’t peek. How the? You Found Me, I guess it was when I sang that huge unexpected chorus louder than I thought. Now I’m “Running Away,” but not because of the song, as I try to avoid getting caught; it has a lot of attitude and reminds me of Linkin Park, or Simple Plan. The best of the bunch are: So Obvious, Unstoppable, Papercuts, Heart Attack, Falling, Dedicate, See You Around, and Running Away.               

Roxette "Charm School"

I wasn’t gonna Answer This!  But I heard of this band from watching the afore-mentioned flick, and thought I would give them a try. I mean it wouldn’t hurt going to Charm School: I could use all the help I can get in that department. “Have you ever had a feeling” that you take it all for granted? You wonder why as you listen to this tender piano ballad from the female perspective. You think to yourself “No One Makes It On Her Own,” but the sun will still rise; there is a new chance each day you live to make things better. I Wanna Go to the place where the geeks get the girls and where “She Has Nothing On (But The Radio).” There is something so endearing about this next song,but I’m not sure exactly what. Maybe it’s that it captures the feeling one gets when they messed up bad and want to fix things, but the other person doesn’t respond to any messages (via anything) they try to send. C’mon “Speak To Me!” Phew! That was quick, it only took one song “I’m Glad You Called.” The next song has a nice vocal interplay between the two vocalists as they pine for the other from afar; a girl pining for me would happen “Only When I Dream.” As I am riding this “Big Black Cadillac,” I am enjoying the song very much, but if I make this next reference an extremist may give me a kick in the teeth. I’m sure I’m not the only one to get “In My Own Way,” and even with this unchained melody I still stop dead in my tracks because I had made an inaccurate interpretation; everybody has a slightly different way of showing love and affection, let’s leave it at that. “After All” may have arose from somber beginnings, but the message and its bouncy accompaniment remind you that even if it seems like the end of the world, it does continue “After All.” Yes, she may be gorgeous as ever, smart, funny, and any other positive attributes you may want to add; you can call her lucky, but she may only be “Happy on the Outside.” Nothing feels better than to be “Sitting on Top of the World” after toiling through struggles to get there (family problems, haters, health issues, isolation, bouts of insanity, suicidal tendencies, etc…). The instrumentals are subtle and sweet, but just enough to enhance the vocals of Frederikkson. My Favorites: Way Out, Only When I Dream, Big Black Cadillac, After All, In My Own Way, Sitting on Top of the World.          

Bounding Main "Kraken Up!"

It would be rude to say I was Kraken Up when I heard the music, but I was absolutely intrigued by the play on words in the title, and more so by the cover. I do like acapella music, but do not listen to much of it. The first song is a nice introduction to the group with several harmonies upon this Bounding Main towards “Dogger Bank.” I would have to say that I like the harmonies of the next one even more than the first track; there is a round here and there, but isn’t there always in acapella? Not a very astute observance, but their tempo is a little quicker which makes it more enticing to me and this “Heilan’ Laddie.” In this next song I would have to say I am a fan of the tale that picks up the “Call of the Sea,” as well as the more relaxed tone of the backing vocals in slightly higher range. If you ask me I would say that “Saltpeter Shanty” seems to include the vocal stylings of Burl Ives; the most interesting thing about this song. I have heard of the tale of “Sloop John B,” but I have no idea where. I know it was a song by the Beach Boys, and covered by Relient K (among many others), but I don’t remember listening to either; The doo-wop flavor makes it a little more likable. The day we hear some strummed acoustic lightly in the background would be the “Day of the Clipper.” To spend most of your days thinking of a lovely lass that you wish to marry, and your nights thinking of her even more as you watch for anything out of the ordinary on the sea (no shore) and sing a quiet song is what “Night Watchman’s Lament” is all about; sung only by the female half of the group which sound spectacular. I’m just going to have to “Pull Down Below.” The slight theatrical aside in the beginning earns some points in this “Barbershop Shanty.” If you don’t mind my saying that it seems like the second half of the album seems a little more tolerable. I am a fan of the handclap “Rolling Up, Rolling Down;” a slightly funky rhythm and creating a Christmas Collage. I do not have much to say about the next song except that I like this French maritime song “Le Capitaine de St Malo.” The final song is said to have mutations on their website, said to be an anonymous parody (what like Straight No Chaser?! Not exactly, but is a good way to finish the album). As for recommendations I would have to say the last six songs are the best off of the record, but Day of the Clipper and Night Watchman’s Lament  is nice too. 

Korn III:Remember Who You Are

It is surprising how much anger and anguish can be cut to tape; to the point where one doesn’t even sound human revealing that level of frustration. Not that I had heard it when it first came out, but it still sounds sirens.The sound got a facelift in 2005 to the dismay of many fans: A more positive tone, at times, with a more pop-music ideals. It was a good thing though because it must be demoralizing reliving those same torturous events and emotions over and over again when asked to play them live, and redundant to  continue that cycle with the following album; especially when the emotion was raw and real at the point of recording. The next album would be classified as “progressive Korn” with some of those same ideals, but that is not saying it isn’t a little twisted.  We can call it a recovery or even an evolution; which happened to be one of my favorite songs of that album.                                                                                                        Now we come this album which merges elements of their self-titled, and their Untitled (unofficially their second eponymous) which explains Korn III: Remember Who You Are.  The song that is most successful at merging that frustration and their more recent sound would be “Olidale (Leave Me Alone),” and the second single. The first track, “Uber-time,” was a just a prefix for what was to come. When most people are depressed they “Pop a Pill,” and this song addresses that tragic reality.  What seems like one of their weakest songs ends up sounding stronger after subsequent listens, and recalls the struggle that comes with fame; discovering who is real and who is fake in “Fear is a Place to Live.” Just because a lot of that negativity was purged for five records straight does not mean they have escaped without scars, but they did “Move On.” This song also addresses the struggle with fame; just read the lyrics, and again there is a high level of anguish that successfully merges both styles. If they had one song to help determine if they were capable to “Lead The Parade,” this would not be it; even if  they were “so happy, everything was wonderful” in a delirium-infused breakdown and a forty second sfx suffix after the 3:43 mark. The first verse is probably the strongest of the song that urges you to ‘Let The Guilt Go,’ and there is no guilt listening to this one either, even when they try too hard in sounding bombastic after the 1:30 mark. Remember that delirium I had mentioned earlier? This is brought on by self-loathing, reinforced by all the pointed fingers, and the fact that love is “Never Around.” In place is a visitor from the other side the other side of sanity. “Are You Ready To Live?” From the sound of it, Davis seems more like he’s ready to give up and die, but instead chooses an option similar to starting over in the breakdown. The guilt must have gotten to him because “truth is pain,” yet he is the one most affected by “Holding all These Lies.”  The first bonus track not only focuses on alienation, was inspiration for the subtitle, but also sounds like how someone would feel if they were “Trapped Underneath The Stairs.”  The closing verse is strong, but the final line is what hits hardest. I haven’t been called a “People Pleaser” by anyone, but I try to be, and it seems like this is recurring theme in this record; several songs before this one touched upon the subject as well, so maybe that is why it wasn’t on the traditional album, but it is worth at least one listen. I definitely have my favorites on this record, but I think it is best to listen to the album as a whole, after you listen to the first two aural adventures in this “trilogy.”