The Fall of Troy - Doppelgänger

            Conversation between musicians, no matter environment or circumstance, inevitably leads to one undying topic: the ability of other musicians. From there, that conversation takes the form of either praise or condescension, reminding me that judgment is an unavoidable aspect of art. One such conversation brought to my attention the band the Fall of Troy, as another musician offered accolades to their incredible skills. Intrigued, I decided to investigate, and picked up an album which firmly defined for me the difference between playing music and making music: Doppelgänger.

            One listen will assure you that composing Doppelgänger must have been a true feat of music; whether or not that composition is even worth that one listen is entirely more subjective. The sound presented here is extremely technical, relying on odd song structures, varying time signatures, and no small amount of forgiveness from the listener. There are quite a few moments when this trio really connects, producing songs and riffs that are catchy, energetic, exciting, and damn good—the first five tracks are laden with headbanging riffs and sing-along melodies that refuse to be ignored. Yet, for the most part, the composition of the music is so focused towards being an ear-opening piece that the Fall of Troy seems to have left out its humanity. The band’s attempt to create a unique and challenging style of music was certainly successful, but at the cost of their tunes sometimes having as much soul as dial tone.

            Whether or not the songs on Doppelgänger are audibly pleasing, no one can deny that the Fall of Troy is a unit of phenomenal musicians. In a review for Allmusic, Greg Prato remarks that these musicians “have obviously logged significant amounts of time ‘familiarizing’ themselves with their instruments,”[1] and indeed, these guys treat their instruments like extensions of the body. Thomas Erak doesn’t play his guitar—he wields it like a weapon. His style of switching between colorful chords and modal shredding is grounded by Tim Ward’s drawling bass and Andrew Forsman’s energetic drumming. Yet while all three members of the Fall of Troy certainly know their instruments, at times they seem to have trouble putting it all together in such complicated compositions. Throughout Doppelgänger are buried slight but noticeable tempo changes which seem more like chances for Tim and Andrew to catch up rather than musical choices. Furthermore, some riffs are so high-speed that the band is hard pressed to keep the tune from spiraling into chaos. Part of the reason for this lies perhaps in how guitar-centric the compositions are. With each listen, it becomes apparent that the driving force of this band—and thus its songs—is Erak. His guitar is spouting flames 98% of the time, with the bass and drums receiving no meaningful feature in any tune. Even the mix reflects this, as the guitar is blatantly louder than anything else on the record.

            Despite the bog of band relations and technical riffs that they’ve chosen to navigate, there are a few moments on Doppelgänger where the Fall of Troy really get it, producing a piece that is from the heart more so than the hands. One such piece is “You Got a Death Wish, Johnny Truant?” which packs enough soul to mark the Fall of Troy as a band with which to contend. The song starts off with an interesting and harmonious guitar riff before collapsing into a fast-paced melodic-punk onslaught. The band effortlessly switches time signatures in every verse without losing the groove they’ve established, while Erak and Ward toss us riff after danceable riff. Really driving this song, however, is the complex yet graceful drumming of Andrew Forsman, who pounds on each piece of his kit like a blacksmith. His percussion steers the feel of the song, taking it from brutal to bouncing without interrupting the flow or overriding the melody, marking him as a true rhythm-section man. Even the vocals exude energy and fun, the simple and sparse melody locking down this jam as a two-minute-masterpiece.

            “You Got a Death Wish, Johnny Truant?” is a simple and catchy tune, and thus an anomaly on the record. The musicality of Doppelgänger is complex to an extreme, which unfortunately causes other aspects of the tunes to suffer, especially in the vocal department. So much time and energy has been thrown into the music that the vocals and the lyrics accompanying them are little more than footnotes. With the exception of a chorus or two, every vocal part feels stuffed on top of this musical casserole, as Thomas and Tim scrounge for melodies to complement the audio hailstorm they've laid down. And while hard vocals might usually justify weak melodies, unfortunately for the Fall of Troy, whoever is screaming simply has no business screaming—the abnormally high range being explored makes the hard vocals more laughable than respectable, and kicks out the legs from any energetic excuse the band was relying on. Couple that with lyrics that universally fail to communicate a story or even connect with each other, and a massive connection point with the audience has been lost, to everyone's detriment.

            Though a lot on this record isn't working, the Fall of Troy has one thing going for it: Doppelgänger is interesting. The sound provided by this trio is certainly original, as they audaciously eschew musical conventions by pumping this record full of blue notes, modal changes, and harrying time signatures. Most songs deny any standard song structure, steering away from the mundane verse-chorus attitude for a more eclectic energy, a factor that, according to Scot Weber of AbsolutePunk, keeps the record from ever approaching a “cheesy and predictable”[2] feeling. Some songs even seem to be separated into small suites, where, to the band’s credit, riffs are given the room to evolve into something more than noise. Most notable is the last two minutes of “Act One, Scene One,” where the band takes a simple chord progression and, though rhythmic and dynamic changes, allows it to breathe and grow into the most beautiful part of the record.

            With Doppelgänger, the Fall of Troy shows itself as a band with potential and with a specific idea in mind. As a whole, this record has a voice unique unto itself, an achievement that cannot be taken lightly; yet few of the songs have enough strength or appeal to stand on their own. Doppelgänger testifies itself to the incredible musicianship of the Fall of Troy, while reminding us while art can be approached and dissected as a science, it cannot be felt as such.

Tunes to Check Out:
1) "You Got a Death Wish, Johnny Truant?"
2) Act One, Scene One
3) F.C.P.R.E.M.I.X.

ADDENDUM:

            During my research for this record, I came across a video interview which featured live footage of the band performing “‘You Got a Death Wish, Johnny Truant?’” The fact that these musicians are capable of reproducing flawless tunes night after night is a testament to both their skill and their commitment; furthermore, their performance lacks not at all for presence or energy. Erak's employment of a loop generator offers an interesting and unique approach to the live performance, as he is able to layer his guitar riffs for a fuller sound, as well as keep it going while he abandons his ax to join the crowd in a breakdown that is a brutal yet inviting whirlpool. This video makes it clear that the music on this record has potential, but when translating it from the stage to the CD, there are some things that fail to carry over.

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[1] http://www.allmusic.com/album/doppelg%C3%A4nger-mw0000689623

[2] http://www.absolutepunk.net/showthread.php?t=97429

Incubus - Morning View

            At the age of twelve, with no money and no job, I was forced to reach out to other resources for new music. Often my friends were my only source, burning me copies from their record collection. However, I soon found that my local library provided me with a varied and gratuitous selection of music. Every week I would dig through the rows of cracked jewel cases, digging until something stuck its head out. One such record, buried behind endless outdated Christmas compilations, was Incubus’ 2001 release, Morning View, a record I find myself adoring a decade after I was introduced to it.

            In Morning View, Incubus provides a buffet of styles in their music. Their sound is extremely varied: it swings, it rocks, and it jives. Written at a time when the “band dynamic was shifting dramatically,”[1] this record explores a whole continent of musical styles, wherein the same song often features moments heavy enough to crush a bus followed sections as soft as beach sand. Any group of musicians who can redefine their sound in every tune must be tight, and Incubus is apparently a compact unit. Even their disagreements apparently give way to soulful musical creation, as with “Are You In?”[2], and when they’re on their game, the end result is even more incredible. While their overall sound hovers around the term “alternative rock,” DJ Kilmore’s turntables add a hip-hop seasoning that prevents this band from being lumped into any one genre. His scratching is both melodic and percussive, as he adds an ambience to the record that essentially defines its sound. His sampling and spinning are prominent in the compositions without ever overriding the whole show, which makes him an invaluable character in this band’s composition.

            The diversity of sound on this record, with adjacent tracks almost never featuring a similar dynamic or feel, makes Morning View a very interesting listen. In an interview with Crud Magazine, guitarist Mike Einziger remarked that “we get bored very easily and we would never be able to just keep repeating ourselves,”[3] and with tracks like “Just a Phase,” it’s obvious that this band is unafraid to change it up. While perhaps not the most sonically beautiful tune on the record, “Just a Phase” is certainly the most interesting. The tune opens with a loop from DJ Kilmore (who also provides us with a sweet scratching solo halfway through the song), and from there evolves in every way possible. The beginning and end of the song feature some soul-wrenching vocalizations from Brandon Boyd, while the instrumentation works to build a powerful tension before finally releasing it in the outro, one of the heaviest moments on the record. The time signatures of the song are just as varied: “Just a Phase” features an intro and chorus in 4/4, verses in 6/4 and a prechorus in 5/4, making it apparent that, from the backbone to the finishing touches, Incubus is unafraid to stray away from the conventions of composition, leaving us with a tune that is wholly unique and fun to experience.

            While the tunes on Morning View are consistently vibrant and progressive, the main shortcomings of this album lie in its inconsistencies. Most noticeable are the varying mixes on the tunes, which drop the instruments as often as they carry them. In tunes like “Blood on the Ground,” Einziger’s guitar is full and brutally heavy, yet in “Have You Ever” the power feels unsupported, to the song’s extreme detriment. Similarly, Jose Pasillas’ toms sound incredible in “Under My Umbrella,” but in “Circles” he might as well be playing pots and pans. Just as erratic is Boyd’s overall vocal and lyrical contributions to the record. While his vocals lacks not for beauty, Boyd generally seems to be singing towards the top, or even a little above, his range, often sacrificing power and control for high notes. “Are You In?” features a vocal both soulfully written and expertly executed from Boyd, but in “Nice to Know You” and “Blood on the Ground” he reaches too far for his notes and thus cuts the power from his voice.

            Such inconsistencies, though small, might leave some tunes seeming unrefined; however, no track on Morning View fails to deliver the grooving rock for which Incubus is famous. There are a few songs on this record that I really find myself digging, the first being “Circles,” the final single released off of the album. The tune introduces itself with a little ambience from DJ Kilmore, before exploding into a striking and heavy riff. The entire song carries a musical weight that never stops moving, as Einziger rips distorted chords from his guitar with a force bordering on violence. The performance of the whole band is miles from lackluster, and Boyd’s vocal is so energetic that his high notes are tinged with screams. The closing moments of the song also feature a riff in alternating measures of 5/8 and 7/8, and Boyd completes the circular image with his incantation of “round and round and round and round…” Overall, “Circles” presents a performance of pure, unabashed energy from Incubus, easily translated into the live footage that makes up the song’s music video.

            The second tune that really has me sucked in is the album’s closer, “Aqueous Transmission.” Featuring Mike Einziger on the pipa (a gift from the infamous Steve Vai)[4], this song takes an eastern approach to the ideas of ambience and musical space. There seems to be very little happening throughout the song, with Dirk’s bass only peeking in on the chorus, and the percussion going no farther than some hand cymbals and a gentle drum loop. Yet that empty space perfectly complements the music, creating a sense of drifting and transcendence only furthered by Boyd’s lilting melody. The space in this song is then soon occupied by a full orchestra, which Incubus wisely provides room to develop over the course of the song. This tune, clocking in at a little under eight minutes, is so full of flow that we cannot help but fall into its gentle current. With “Aqueous Transmission,” Incubus creates an audible river for us to float on, to meditate to, and to immerse ourselves in, from the opening plucking of the pipa to the last croaking frog.

            Whatever style of music may be your fancy, you would be hard pressed to pick up Morning View without finding one song with which to fall in love. The efforts of Incubus to stay true to themselves as musicians have borne fruit in each track of this record whose branches extend into all genres and styles. With this record, the members Incubus dive into an ocean of sound and feel without ever abandoning the anchor of their roots, affirming that, despite everything else, they are a band that just plain rocks.

Tunes to Check Out:
1) Circles
2) Aqueous Transmission
3) Echo

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[1] http://blogs.villagevoice.com/music/2011/09/incubus_brandon_boyd_interview_morning_view.php

[2] http://en.wikipedia.org/wiki/Are_You_In%3F#Meaning

[3] http://www.2-4-7-music.com/newsitems/june02/incubus.asp

[4] http://www.1songday.com/2008/08/incubus-aqueous-transmission/

Streetlight Manifesto - The Hands that Thieve

            Streetlight Manifesto has been a band surrounded by buzz for years simply for their eclectic and distinct sound; thus, the drama surrounding the release of The Hands that Thieve, their latest studio album, has only added to the hype. Between release dates being repeatedly pushed back[1] and the record label’s initial refusal to release copies of the album to the band[2], the release of this record seemed a miracle. Yet, like all miracles, The Hands that Thieve provides a sense of beauty, appreciation and connection that few pieces of art are able to approach—put shortly, the wait was certainly worth it.

            To manage three musicians into a cohesive unit is often considered a challenge, yet Streetlight Manifesto’s seven members seamlessly connect in their composition efforts, as is apparent in every moment of The Hands that Thieve. One listen makes it apparent that every note, every snare hit, every pick slide has been tailored to fit each song exactly. The horn harmonies alone are so seamless that creating them must have taken months. From the time signature changes in “The Three of Us” to the plethora of syncopated hits in “Your Day Will Come,” it is obvious that Streetlight Manifesto is a musically cohesive unit who takes every composition seriously, refusing to put out a product that is any less than perfect, even if it takes almost a year of rewriting and mixing.

            The music of Streetlight Manifesto is not only tight but ridiculously diverse. Although the band is often lumped into the genre of ska, despite Tomas Kalnoky’s assertions that ska is a very small influence on the music of Streetlight,[3] their sound is infinitely more complex and varied to pin them down into one genre. The feel of the tunes on The Hands that Thieve ranges anywhere from punk rock to latin to acoustic pop to folk, yet every moment has Streetlight’s signature all over it. The four-piece horn section that this band sports furthers their exploration into new sounds, and adds a depth and harmony that all other acts lack. Furthermore, while the record is predominantly up-tempo and energetic, when the band decides to pull it back or break it down, their music never loses the energy that is synonymous with the band’s name.

            One tune on this record that has imprisoned my musical attention is “Ungrateful,” the second track on the album. Fooling the listener with a gentle and quiet opening, this song invites a circle pit more than any other on The Hands that Thieve. Chris Thatcher’s powerful beats drive the song through tempo and feel changes, making the energy of the song seem to reflect the uncertainty of the lyrics. Tomas rips through the vocals on the verse, the words almost piling on top of each other, before the entire band joins in for the chorus. Every part of this tune is frantic and yet controlled, and none more so than the low-end stylings of Pete McCullough, whose fingers must be raw after playing this song. He tears up the fretboard of his bass in the bridge, running through a walking line that is so fast the rest of band must struggle to keep up. Easily the most energetic tune on the record, “Ungrateful” captures both the pure enthusiasm and natural energy of the sleek orchestra that is Streetlight Manifesto.

            The musicality of this record is further complemented by Tomas Kalnoky’s lyrics. Although some of the tunes, such as “Oh Me Oh My” and “With Any Sort of Certainty” seem to feature verse that is convoluted or unexplored, for the most part, this record features some extreme and powerful poetry. Tomas Kalnoky chooses his words very carefully, creating images that we can both picture in our heads and sing along with. Much of the language of the record alludes to religious ideas and themes: in “Toe to Toe” the story of David and Goliath is referenced, while in “They Broke Him Down” we are given the image of angels watching people drown in a deluge. This religious imagery is often paired with the ideas of uncertainty and mystery, as Tomas brings into question the reliability of belief, and connects with the most prominent lyrical theme of the record: having to go it alone.

            The idea of inevitable self-reliance is visited in virtually every song on the record, asserting that the only help worth having is self-help, and that at one point, we will only have ourselves to rely on. Kalnoky explores this idea in an earthly sense in the song “If Only for Memories,” a testament to every man’s departure from the reliance of childhood into the terrifying undefined future of an adult. With this song, Kalnoky takes the idea of “going it alone” to a most personal level, referencing the moment when every child decides to leave the nest and strike out on his own. Kalnoky brilliantly paints the deep love rooted in family, remarking that “No one will ever know / A love as pure as the one that you felt right then;”[4]yet always there is that consciousness that the world is wider than the backyard, which he addresses in the second verse, remarking that “you can’t help thinking / Oh, there’s gotta be some more to do,” leading to the realization that “everything you want won’t come to you / You realize now that you’ve gotta go see this through.”[5] With “If Only for Memories,” Kalnoky captures the terror every person feels as they cut the umbilical cord, while assuring us that every broken bone, no matter how “meant to be,” will indeed heal, and lead to something more beautiful and breathtaking.

            With The Hands that Thieve, Streetlight Manifesto has again set the musical bar miles high. Every tune on this record has been developed to its full potential, making the record as a whole a sonic powerhouse. My only possible complaint is that Mike Brown's bari-sax seems a bit buried in the mix, a complaint hardly worthy of airing in the presence of this incredible effort. The Hands that Thieve is well worth a listen, and if you find yourself digging these tunes as much as I have, you might consider seeking out a bootleg copy of the unauthorized accompanying album[6], Toh Kay’s The Hand that Thieves, for a completely different but no less incredible take on these master compositions.

Tunes to Check Out:
1) They Broke Him Down
2) Ungrateful
3) If Only For Memories

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[1] http://streetlightmanifesto.com/album-releases-postponed/

[2] http://streetlightmanifesto.com/update-the-continued-struggle/

[3] http://www.youtube.com/watch?v=jmCejk0lqKk

[4] http://www.plyrics.com/lyrics/streetlightmanifesto/ifonlyformemories.html

[5] http://www.plyrics.com/lyrics/streetlightmanifesto/ifonlyformemories.html

[6] http://en.wikipedia.org/wiki/The_Hands_That_Thieve#Toh_Kay_version

Song Spotlight: "Am I Deaf" by Goldfinger

            In my eyes, Goldfinger has always been a band that can do absolutely no wrong. Since my first exposure to their music via Tony Hawk’s Pro Skater, I have been an undying fan of everything this band puts out. Goldfinger’s passion and hilarity is inherent in every composition, and thus each tune provides a simple and incredible listening experience. I’ve found myself connecting with Goldfinger’s ska-soaked punk rock since childhood, and with their new single “Am I Deaf,” there is no exception.

            Being the first piece of new music released by the band in five years, “Am I Deaf” has been held against a high standard by Goldfinger’s fans. While I am always ever grateful for the music of Goldfinger, many found the new single to be less-than-spectacular (see this review by Death and Taxes), especially after the stylistic experimentation of their last two full-lengths. However, in “Am I Deaf,” there is no pretense of a band trying to recapture what they once had. The track is 50% brutal honesty and 50% audacity, which should be more than enough for even the most temperamental fan to realize that “Am I Deaf” is the real deal.

            The song opens with a heavy, grooving guitar riff, which reaches full force as the band joins in. Darrin Pfeiffer’s steady and energetic drumming pushes the tune through tempo changes, maintaining the groove through the verse before opening a circle pit in the chorus. Despite the uncharacteristic drop tunings, the song’s sound is pure Goldfinger, featuring a plethora of vocal moments that demand crowd participation. “Am I Deaf” also challenges a few musical conventions, featuring occasional syncopated vocal rhythms and an eschewing of the ever-present idea of maintaining a key, yet such progressive thinking only heightens the energy of the tune without sacrificing an iota of beauty. And of course, between the punchy bass tone of Kelly Lemieux and the metal-tinged thrashing of Charlie Paulson, the rhythms of this song demand movement, whether it be headbanging, moshing, jumping, or a terrifying combination of all three.

            Lyrically, this tune is unforgiving in its honesty, as John Feldmann takes a cold-shower assessment of his and Goldfinger’s relevance in music. Every artist is forever terrified by the idea that no one cares, and “Am I Deaf” appears to be this band’s response to that fear. John accepts his distance from the youth that dominates today’s music in lines like “Brush your teeth, comb your hair, what’s left of it / Write a song, see a show, stay relevant;” he then blatantly names his fear in the chorus, stating “Every time it feels just like I lost it” before asking himself “Am I deaf? Or am I just a little left of what they listen to today?” With this song, Goldfinger addresses every fear that dogs the creative mind—Do I have anything left? Does anyone care? Am I still worth listening to? “Am I Deaf” is not an outdated band assaulting today’s music, but rather a group of musicians recognizing their fears, and dealing with them in the best way they know how: beating at their instruments and shouting at the top of their lungs.

            To me, it is clear that “Am I Deaf” is no weak and worthless shout for attention—it’s a promise of more great music and great fun from a group of guys who continue to work together out of love for what they do, despite personal differences (see this article on the recent Australian tour), budding families, successful careers, and other musical projects (Charlie’s been spotted on stage with the Black Hands, while Darrin’s been a regular resident behind the kit with the Salads). Though every step into the future puts them farther from their past, Goldfinger remains a formidable and evolving musical act that undoubtedly still has a lot to say. “Am I Deaf” is a ripping tune with a heavy message, and proves that no matter how old or how apprehensive they’re feeling, Goldfinger is still a band that’s absolutely worth your time.

             "Am I Deaf" is a grooving tune from an incredible band who, despite everything, still emphasize the fun that is central to everything they do, and I can’t recommend it enough. If you haven’t got it yet, I encourage you to download “Am I Deaf” at Goldfinger’sSoundcloud page—they’re offering it for free, a thank you to all who continue to listen as Goldfinger continues to rock. You can catch their equally amazing live show on the Warped Tour this summer (check out the teaser video below).

Album Autopsy: Brand New's Your Favorite Weapon

Disclaimer: The following piece is a super-in-depth look at one of my favorite records, and as such, it is riddled with personal opinions and praise for said record. This cannot be helped.

            When I was in high school, I was always looking for new music. In my senior year, I received a mix CD from a friend of a friend whose musical tastes apparently lined up with mine on some level. While that mix was hardcore-heavy, filled with tracks from artists such as Norma Jean, Job for a Cowboy, and Chiodos, it also featured two tracks by Brand New, specifically “Jude Law and a Semester Abroad” and “Seventy Times 7.” With my first listen, I was immediately and irrevocably hooked, and my fever was not sated until I had purchased the parent record of those tracks: Your Favorite Weapon.

            I spun that disc in my car for what was probably months, for I found myself truly connecting with every track. The pop-driven punk that Brand New was providing had me dancing with every listen, and my voice soon disappeared as I sang along to the catchy and anthem-like lyrics. And even now, when that I spin that record five years later, I am no less engrossed in every note.

            The sound of this record is steeped in fun riffs, catchy melodies, and unbridled enthusiasm. It is brimming with the energy of youth, apparent especially in the thrashing guitars, crashing drums, and vocal parts that are as much shouted as they are sung. Although relatively simple, the music that Brand New presents here is undoubtedly honest all the way through—we can listen to every member of the band beating at his instrument, tearing each note and noise from its core. Most importantly, however, is that the songs on this record can make the listener truly feel the emotions embedded within—all the pain, anxiety, and insanity of youth is vividly brought to the forefront of our minds, and in that aspect, this record truly is a formidable weapon.

            While the record as a whole is indeed powerful, that power lies rooted in the honesty and individuality inherent in each track. Every song is a powerhouse, able to stand up on its own without the support of the rest of the album. As such, a track-by-track analysis seems the best avenue for communicating my undying love for this record.

1.      The Shower Scene

            Presentation is a big factor to consider when analyzing any album, and with “The Shower Scene,” Brand New gives us a first impression that is loud, fast, and well-thought-out. The song is hard-hitting from the beginning, setting the scene for the rest of Your Favorite Weapon. But while doing so, it also asserts itself as a unique piece on the record. The song features a distortive filter on Jesse Lacey’s vocals, adding an unnatural ire to his voice as he tears up an ex-girlfriend. Furthermore, the musical aspect of the writing is filled with syncopated hits and features a unique moment for the record that showcases the band’s abilities to switch time signatures in a bridge alternating between measures of 6/8 and 7/8. When all is said and done, this tune is noisy and energetic in all the right ways, encouraging the listener to get stoked for the rest of the record.

2.      Jude Law and a Semester Abroad

            Along with “Seventy Times 7,” “Jude Law and a Semester Abroad” gave me my first exposure to Brand New, and soon convinced me to purchase the whole record. It’s a tune that gets me grooving no matter where I am, and after countless listens, I am still enamored of it.

            The first and only single released off of this record, “Jude Law and a Semester Abroad” is probably also the record’s best lyrical performance. Jesse’s vindictive vocal opens the song, stating quite clearly his complete mistrust of a girlfriend who’s going overseas, which Adam Dlugacz of Popmatters describes as “a rite of passage for any teenager.”[1] The entirety of the tune seems to demand singing along despite its angry tone and dark humor, as Jesse not-so-subtly hopes her plane will crash on the way to England.

            The song also features some explosively fun guitar work from Vincent Accardi, as well as our first exposure to the idea of vocal counterpoint, a massively thematic musical choice on the record, as Brand New combines and layers three different lyrical ideas at the close of the song. Undeniably catchy all the way through, this song asserts itself easily as one of the best on the record.

3.      Sudden Death in Carolina

            This song is a high-energy invitation into the madness of high school interaction, where words and looks are as deadly as grenades. “Sudden Death in Carolina” presents a ton of interesting and cool lyrical images. The words playfully address the life-or-death feeling that dominates our youth, as the speaker compares his relationship thoroughly to a homicide investigation in the chorus. The subject seems so desperate, yet the melody and music dispel any urgency the words attempt to relay, creating a fun and nostalgic feel to the desperation every young person feels.

            One of my favorite parts of this song is the drumming, which unfortunately seems to be buried in the mix. Brian Lane plays with conventions as he begins each phrase of the verse with a drum fill on beat one, a bold move in a style of music that relies on simplicity. He also peppers the middle of the song with syncopated snare hits and rimshots, providing further flavor to an already heated composition. “Sudden Death in Carolina” is a tune with a lot going on in it, and each listen seems always to provide a little bit more.

4.      Mix Tape

            This is a tune that stands out against the rest on the record for many reasons. Perhaps the simplest song on Your Favorite Weapon, “Mix Tape” features but two chords and one barely variated vocal part, yet it remains fascinating in its blatant juxtaposition against the sound of the record. “Mix Tape” is slow and trudging when compared to the rest of the record’s fast-paced tunes, and yet one listen asserts that it belongs nowhere else.

            “Mix Tape” sounds like a live track, featuring a notable amount of reverb on the drums and an outro that slowly descends into absolute chaos. The power of the song is not lost in the relaxed tempo, only reserved—the band seems to store this energy up behind the vocals, only to release it explosively near the end. The song structure is also different from the rest of the tunes on the record, eschewing the verse-chorus feel in favor of a more anthem-like vocal part in which Jesse salutes both his musical idols and shamelessly plugs his own band.[2] Between grooving guitar riffs and lyrics that bear a grudge, this tune is worth more than a hasty examination.  

5.      Failure by Design

            Few songs are so blatantly hateful of anything as “Failure by Design,” yet the lighthearted melody used to present that hatred makes it just as unique. This song chronicles the exhaustive agony of the process of recording, a sentiment any musician can relate to. Lyrically, it doesn’t stand out against the rest of the record, but the energy and catchiness of the chorus make the tune as adhesive as Krazy Glue, and it is simply impossible not to sing along to the “doo-doo-doo” of the bridge.   The vocals on this track are especially expressive of both the exhaustion and the enmity of the speaker of the song, as Jesse alternates between a defeated sigh and a scream torn from his core. For a tune laden with loathing, “Failure by Design” presents a damn good time.

6.      Last Chance to Lose Your Keys

            Although possibly the weakest lyrical performance, this song epitomizes the roiling ocean of high school relationships. Again, Jesse’s vocals are straightforwardly hurtful and accusatory, foreboding an imminent breakup with a girl who won’t give him the time of day, and although I’m not fond of the lyrics to this tune, I find the lines “leave your lipstick at home / Don’t pick up the phone / Don’t bother to look in my direction”[3] to be absolutely brilliant, as the speaker shuts down any possible avenue of advance from his scorned lover. A simple song all the way through, “Last Chance to Lose Your Keys” is still fun and catchy, and gets stuck in my head more often than any song from Your Favorite Weapon. The song almost seems like a pop-punk ballad with its dynamics and its culminating three-part counterpoint, which allow it to truly fit with the feel of the entire record.

7.      Logan to Government Center

            “Logan to Government Center” is the pinnacle of Brand New’s performance on this record. Musically rock-solid and lyrically inventive, it captures the youthful wish to be understood and accepted, especially by a high-school crush. Jesse’s writing abilities are truly showcased in this song, as he fine tunes both the meaning of his lyrics and the sounds embedded within. For instance, in the first verse he builds am entire progression based only on the sound of the word consider: “Consider this a letter than I never sent / However inconsiderate it seems / Do you still consider me?”[4] He further explores this idea by repeating sounds in the counterpoint of the chorus: “Nothing’s absolutely definite until it’s absolutely definitely gone.”

            Powerful, emotional, and rocking, this tune is easily my favorite from Your Favorite Weapon. The whole performance, from drums to vocals to guitars, is extremely passionate and honest. Every note is deliberate and fully reinforced in “Logan to Government Center,” giving it an oomph that far surpasses the rest of the record. Overall, this tune is one that gives me goosebumps with each listen, and one which I simply must sing along to.

8.      The No Seatbelt Song

            Though the title perhaps is a tongue-in-cheek reference to “Seventy Times 7,” any connection between “The No Seatbelt Song” and the rest of Your Favorite Weapon seems to end there. This song is of an entirely different caliber that those surrounding it, making it stand out in both positive and negative ways. It is both slower and quieter than any of the other tunes, and features Jesse singing in a lower register. The minor key, the lyrics, and the music all gently hint at a darker side to Brand New, which, like the reverb-laden (and poorly deployed) drum machine at the end of the track, makes its only appearance on the record within this song.

            While “The No Seatbelt Song” does little for me as a piece of music, it remains an important part of this record for a different reason. This tune is entirely unlike the rest of the songs on the record—it doesn’t seem to fit in the overall sound or even in the track listing. However, the fact that Brand New chose to include it, when they probably could have scrapped it or saved it for a later release, shows audacity and honesty, two things I can truly appreciate in any artist. Rather than compromising for the sake of a “sound,” Brand New chose to include “The No Seatbelt Song” on this record, and thus it belongs nowhere else.

9.      Seventy Times 7

            If “Failure by Design” expresses an extreme hatred of an idea, “Seventy Times 7” takes that hatred and gives it a real world application. Allegedly about a disagreement between Jesse Lacey and Taking Back Sunday guitarist John Nolan,[5] the lyrical content of this song is amazing in the graceful way it expresses unabashed abhorrence. Lacey is simultaneously scathing and poetic, elegantly praying for the death of his adversary from either asphyxiation or a car accident. The song is stocked with memorable lines as Jesse attacks the character of his enemy, calling him “as subtle as a brick” while claiming “I’ve seen more spine in jellyfish / I’ve seen more guts in eleven year old kids.”[6] Jesse’s emphatic vocal furthers his ire as he tears each word from the lining of his throat, screaming and shouting and even seeming to throw the microphone at the end of the recording.

            For all the anger pent up within this track, the band could not have created a catchier musical arrangement. The guitar riffs are energetic and fun, and the song holds an incomparable groove all the way through. The music couples all the force of punk rock with the carefree enjoyment of pop, seamlessly coagulating in perhaps the most sing-along-able chorus on the record.

            “Seventy Times 7” was my second exposure to Brand New, and gave me the final push to purchase a record that I’ve come to cherish. Between the inventive lyrics and the invigorated musicianship, it’s a tune that will remain embedded in my skull until I die. If you give one song from Your Favorite Weapon a chance, let it be this one—you will be hard pressed to hate it.

10.  Secondary

            “Secondary” is another ridiculously catchy song that embodies Brand New’s pop-punk feel. Between syncopated hits, alternating dynamics, and powerful melodies, there is a ton going on in this song. Garrett Tierney tears up his bass on this track, mixing high-register chords and basslines that border on walks throughout the tune, while the outro guitar riff remains one of my favorite licks on the record. The band slams this song around while remaining a tight musical unit, an idea even further expressed in the demo version of the song (from the Your Favorite Weapon reissue), which features an intro riff in 12/8.

            The beautifully constructed vocal melodies in “Secondary” are my favorite on the record. The extreme amount of fun packed into each note belies the exhausted voice of the lyrics, and the song’s themes of flirtation and confusion are brilliantly told through harmony and counterpoint. With “Secondary,” Brand New gives us a reason to celebrate our befuddled youth, to roll our windows down and shout at the top of our lungs.

11.  Magazines

            At first, “Magazines” may seem like a throwaway track on the record, something whipped up in a few hours to fill another space, and perhaps it is just that. Even so, it remains another phenomenal pop-punk piece that sticks inside the listener’s head for days. Every high schooler has a celebrity crush at one point, and apparently Jesse Lacey is no exception, as he hopelessly pines for a woman named Laetitia (possibly the French actress and model Laetitia Casta)[7]. The lyrics, while not exceptional, vividly capture the silly fantasies and ridiculous fears associated with puberty, all carried by some thrashing guitar work from Vincent Accardi. The song’s punk music and pop melodies meld into a powerhouse of exuberance, guaranteeing a good time for any listener, and assuring us that “Magazines” is definitely not a song to be thrown away.

12.  Soco Amaretto Lime

            The staple acoustic anthem, “Soco Amaretto Lime” is a simple musical piece through and through, composed of palm-muted power chords and an almost-spoken melody. Like “The No Seatbelt Song,” there is a gentle feel to this tune, and although the writing of the song isn’t much to look at, the song’s value becomes immediately apparent in that it epitomizes the sentiment built into Your Favorite Weapon. “Soco Amaretto Lime” is the voice of a high school party as much as it is the silence between two best friends. Perhaps most interesting are the backing vocals, which stand in sharp contrast to the main melody as the band sings “Everybody wake up! Wake up! Everybody / Everybody wake up! It’s time to get down!”[8]

            “Soco Amaretto Lime” is a song that bottles the feeling of infinity that surrounds every youth, looking forward to an undetermined future while wishing life could “stay eighteen forever.” There is an air of uncertainty in this song, a feeling that Brand New knows that as they close out their first full length, they too are closing a chapter of their lives, hesitantly moving into a new era. This song completes the saga of Brand New in Your Favorite Weapon—it marks their last night as kids, paying homage to the insanity, the desperation, and the vivacity that made them who they are, and thus becomes the anthem for all of us to rally around as we too take that step onto our future paths.

The cover art for the Your Favorite Weapon Reissue

            Your Favorite Weapon, while continuing to reign in my top ten albums, is a record that seems to catch a lot of flak. It is a simple record, built on punk chord progressions, an overtired song structure, and the complaints of a high school kid still dealing with his past. The fact that this record seems to have so little going on, and yet receives a generally positive response, has driven some to despise it entirely (such as in this review by Type in Stereo). In truth, Your Favorite Weapon is a simple record, but that simplicity is what makes it accessible. The honesty of Brand New is not hidden behind anything pretentious—and if the bridge of “the Shower Scene” says anything, they could be pretentious about it—instead choosing to throw themselves wholly into making music they love and music they mean. In their songs is hidden an idea that works no matter how you spin it, always succeeding in getting a crowd to their feet, undoubtedly knitting their voices into one chorus. Brand New doesn’t milk a dry concept with this record; they do what they came to do: share their music and the fun that is central to it.

            In Your Favorite Weapon, Brand New presents a photo album of high school drama that, for all the relationship rifts and angry taunts that the songs portray, is presented with a carefree and joyous attitude that seems to celebrate the sufferings of youth as rites of passage. The music is rooted in the liveliness of their teenaged years, and as such, each song seems to demand both movement and participation from the listener—there is no sitting allowed. It’s an incredible listen throughout, energetic and invigorating and thoroughly enjoyable. It is a record that continues to inspire me in my own songwriting, as I’m sure it does countless others. Furthermore, it is an affirmation that our youth, which we tend to look back on with embarrassment, is a necessary step to becoming who we are and remaining true to the path that led us there. 

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[1] http://www.popmatters.com/pm/review/brandnew-yourfavorite/

[2] http://www.popmatters.com/pm/review/brandnew-yourfavorite/

[3] http://www.azlyrics.com/lyrics/brandnew/lastchancetoloseyourkeys.html

[4] http://www.azlyrics.com/lyrics/brandnew/logantogovernmentcenter.html

[5] http://en.wikipedia.org/wiki/Your_Favorite_Weapon#Background

[6] http://www.azlyrics.com/lyrics/brandnew/seventytimes7.html

[7] http://en.wikipedia.org/wiki/Laetitia_Casta

[8] http://www.azlyrics.com/lyrics/brandnew/socoamarettolime.html