Album Review: Mumford &Sons—Babel—

5/6

In keeping with Sigh No More, Babel hits hard against the heartstrings, yet has an unmistakable anger beneath the surface. Blending bluegrass with Scottish folk style, Mumford & Sons have a sound that is distinctive and a welcome departure from mainstream angst. There is genuineness to their lyrics and a precise, striking way of expressing repentance without submission.

Babel feels like a response to their Sigh No More. The themes of grace, and tenacity in the face of love continue into quiet retrospect and impassioned determination to survive the loss of love. It also possesses a maturity that the first album did not have.

The orchestration on this album is wonderful, with a precise understanding of where to raise a complex storm of music and where to drop down to the simplest cord progression, complementing the lyrics (or their lack) perfectly. This balance also makes the lyrics incredibly easy to hear, as often quiet is used to emphasize them.

Overall this album is passionate and evocative without being melodramatic. I loved it.

Nightwish with Kamelot at The Congress Theater

Venue: The Congress Theater (4/6)
The Congress hasn’t changed from previous reviews though I’m developing a fondness for her.
Kamelot (4/6):
I give Kamelot credit for taking on this tour as their new lead singer only started working with them in July of this year. It was quite the set, but I found they were not quite cohesive and their sound felt shallow. They had lovely female vocalists and the new lead singer Tommy Karevik was solid, but I found they lacked complexity and their energy was not great. Karevik gave it his all to his credit and the crowd responded to him nicely (no small feat for someone that new to a band).
Their drum work was also fantastic; it took me a while to figure out what exactly was causing the deep rumbling I heard during many of their songs. It was the dual kick drums drummer Casey Grillo played, which was amazing.
 Their core female vocalist Elyze Ryd*was amazing, though her mic was not working well so a lot of her soft low notes were not audible. She stepped up her energy when she came out to do lead vocals for Sacrimony

Then Alissa White-Gluz (Lead vocalist for The Agonist) the stage.

 All eyes were on her. She had a powerful combination of raw sex and presence. Her vocal range was unreal, not just in pitch, but in versatility. She used everything from vocal fry to soft melody. Her movements were inhuman, evoking raw animal energy. It was magnificent. If Kamelot had come out with that much energy initially, it would have made for an absolutely stellar show.

Nightwish (5/6):
I had high expectations for this show. They were exceeded with flying colors. I knew the male vocalist Marco Hietala was going to be fantastic as he is one of the founding members and his voice is well known in the metal world. He and Emppu Vuorinen (lead guitar) have been in the band since its formation in 1996 and their dynamic was just wonderful. Lead vocalist Anette Olzon was unexpectedly phenomenal as she is the cause of much dissent among the fans. I am in the minority among Nightwish fans as I peter Olzon’s vocals to Tarja Turunen’s (the former lead) While I can certainly see why fans who fell in love with Turunen’s voice would dislike the sound change, I find Olzon much more accessible and articulate. While she doesn’t have the range Turunen had, she has a better overall sound.

And that was just the vocals.
The instrumentation was amazing, just watching the drummer gave me goose bumps and the bass work was just pure art. Then there was the guy who played the woodwinds who was quite but amazing.

The set was well balanced containing a blend of their old stuff and their new work with a breathtaking acoustic session that gave me goose bumps.. Versatile, yet unmistakable, Nighwish proved themselves both innovative and cohesive.

I am over the moon about this band live their coordination and skill are hard to rival. The camaraderie between them shows the affection of a band that has been together for a very long time and the professionalism was wonderful. It really felt like Anette had been one of them all along. Marco even gave her a huge hug at the end of the show.

Siliversun Pickups with School of Seven Bells at the Aragon Ballroom: We are Ready For the Siege.

Venue: (4/6) The Aragon Ballroom
This old lady really stepped up her sound system for SSPU. I suspect it was because of Brian Aubert’s ethereal, yet badass, voice. Though the speakers did clip out several times it was worth it for the change in quality. With tweaking, I think the Aragon could really bring up her standard. They also installed more fans in discreet places. It was a much improved show.

School of Seven Bells (4/6):
School of Seven Bells combines an electronic sound with Celtic overtones (Wiki classifies them as “Shoegaze”). Initially it almost sounds like all of their stuff is remixed Celtic music, except that the lyrics are original and the under current is closer in flavor to EDM. Beautiful, lilting vocals mesh seamlessly with a fluttering baseline and heavy keyboard work. Another thing that made this band stand out for me was the fact that it was comprised of a bassist, a keyboardist, a drummer, and a vocalist. There was no lead guitar, which gave them a hollow, spacious sound. Live they also had good energy and a playful demeanor. While it was certainly clear that they were not used to having a big crowd and were more than a little nervous, they pulled through and did an excellent job.

Silversun Pickups (5/6):
I have nothing but wonderful things to say about this show, and this band for that matter. Between Brian Aubret’s ethereal, sharp edged vocals, amazing guitar work and flawless lyrics, he could have been a show unto himself. His energy was explosive, yet always managed to fit the mood of the song. I am, however, convinced if he were forced to sit still he might well explode. The bass work was, as always, phenomenal. What made it even more amazing is that the slight gal slamming away at the bass, and rocking out like the world was ending was their substitute bassist. Their usual bassist is equally small, and massively talent, but she’s just recently given birth to twins. (If you happen to read this, Congratulations, Nikki Monninger!) It is a rare thing to see a substitute or tour member of the band get any applause at all; Sara (whose last name I never caught) got enough applause to bring the show to a halt briefly. She was utterly fantastic, matching Monninger in both energy and style, while still bringing her own attitude to the table. I’ve never seen someone bring who was on par with the original artist like that before. Ace job, Sara, ace job.
And lets not forget their phenomenal drummer, one part Animal of Muppets fame, one part insane metal drummer, and 100% magical, (dude) absolutely killed the drum work. While I’ve always appreciated their drummer, this show brought a new appreciation for exactly how bananas this guy is. Phenomenal job.
The only complaint I had (and it is minor) was that I would have moved “Panic Switch” (their really big) song to the second encore as opposed to being before either encore. It was a positively spectacular, ridiculously long show, with a frenetic, passionate energy that is on par with the best in the business.

Album Review: Kyoto Drive -The Approach--

Kyoto Drive is an alternative rock band from West Midlands, UK. I picked them up when they shot me an email  (I suspect it was from my connection to the Matchstick Men) they have an uplifting, poppy sound and infectious, soft vocals and accessible lyrics. One of the things that struck me off the bat was the strength of their backup vocals and their knack for harmonization both vocally and instrumentally. Their sound is cohesive and just all around fun. Kyoto Drive's sound is also very polished compared to other young bands. It is clear they've taken the time to put that little extra bit of effort in to really make their sound clean.

Where I think they could stand improvement:

There were a few issues that stood out for me. The first is that the sound balance isn't quite right on the album; the vocals are a little muted compared to the guitar work. Both elements sound good individually; I would just like to see a little more tweaking the mixing phase.

I also found I couldn’t differentiate between their songs unless I really focused, while it is wonderful that they have found their sound, I would like to see more innovation and verity within the album.

The final issue I had was that they haven't really made their sound their own, yet (I say yet, because I'm confidant in their ability to do so) it sounds like a half dozen other alt-rock/pop rock bands out there. I can certainly see the potential versatility of their guitarist and keyboardist, however it does not appear on the album.

Overall, a fun band whose work I cannot wait to see start appearing on the radio over here in the states.

Here is a link to their latest music video Breathe

 The majority of their info can be found at the bottom of the vid.

Riot Fest Day 2: Coheed and Cambria, and Rise Against.

Venue:

Humboldt Park (3/6):

I’ve been to a verity of outdoor venues and temporary venues. This venue was not very well organized-- the stages were nearly on top of each other. The map was disorganized as well. The stages were also too small for the popularity of the bands performing and the screens were not quite high up enough to be seen further back. It was also verbally inaccessible without a car especially given the fact that it was very close to a rougher area and the only way to get back to the El, let alone downtown, was an odd buss line. It was not somewhere I would stage a festival. That being said, the lineup was phenomenal bringing in artists in the punk and post punk vein with a verity of degrees of fame. I was only there part of the day, but what I did catch was a lot of fun.

  

Coheed and Cambria (5/6): Coheed and Cambria always puts on one of the best shows I’ve seen. With stunning, distinctive vocals, and a striking stage presence, front man Claudio Sanchez is a force all on his own. He also brings stunning guitar work and a maniacal grin to the set. 

The guitarist was also spectacular, keeping up and matching Sanchez’s artistry flawlessly. And the new drummer is exquisite-- I actually find his work better than their previous drummer-- presses yet quick to improvise a solo if necessary.

While this was a mere hour-long set, Coheed was immaculately on top of their game, coordinated and a joy to watch.

The end of the show was something to see, Sanchez leapt into the au dance and played amongst the fans in the front row, then literally vanished. The band kept playing; seeming a little confused at his disappearance but eventually left the stage. It was quite the trick.

In short, these guys are unparalleled musically.

Rise Against (4/6): While not comparable to their previous show at the UIC Pavilion, Rise Against puts on a sincere, energetic show that still remains in my top ten. From a content standpoint, they manage to balance their very strong political and personal belief with musicality and strong lyrics that do not bash the listener over the head. Vocalist Tim McIlrath is articulate, passionate and respects those that came before him musically. Simultaneously, full of conviction and humble McIlrath is a wonderful performer.

And that’s just the front man.

In true punk fashion their music is honed to a specific effect-- To inspire change. Whether it be a slow, thoughtful song or a riotous motivational song, Rise Against has both a brilliant amount of energy and a degree of cohesion not found often in modern punk.  It was a wonderful show. And there was no question how much the abundance was into it. These guys really know how to get the audience pumped. Even in a short, outdoor set it was a wild crowd. It left me feeling more alive than ever.

Wonderful show.

Riot Fest Day 1: Offspring with Neon Trees at the Congress Theater “Come Out and Play.”

Venue: (3/6) The Congress is an elderly relic of a time gone by, and looks/sounds it. It’s obvious that the ceilings and walls used to be ornately decorated, but the molding and paint have faded and chipped, lending a simultaneously run down and endearingly worn feeling to the atmosphere. It used to be a theater, so the sloped floor lends both access to airflow and a better vantage point for those of us who are of shorter stature. The sound system has the problem all older speakers have—the distorted bass and weak middle range. Fortunately, I was at a post-punk show and the distortion wasn’t as detrimental... well, at least not to the main act.

Neon Trees: (4/6) One part Billy Idol, one part Freddie Mercury front man, Tyler Glenn took the stage with a brash attitude true to punk. Glenn didn’t care if his band was headlining or opening, he was going to play his set and get the audience involved. While the ever-true anger at the little things that get under one’s skin often brings out the sympathy in anyone, I found that they didn’t quite connect with the people who weren’t familiar with their work; if you were a fan it was fun, but otherwise, the energy wasn’t quite there.

Glenn was also far and away the most talented of his band and the most iconic. The guitar work was just a hair inharmonious and the drum work was flat out off.

Overall, I had a great time with them. They aren’t there yet, and I don’t think they mind that fact.

The Offspring (5/6): It was an honor to listen to a band that is one of the fathers of post-punk. The Offspring formed right smack in the middle of the punk movement and managed to adhere to that feel in a time when punk in the truest sense was dying. Their influence on my generation’s music is near unparalleled. Echoes of their sound ring throughout the alterative rock and post punk movements.

After twenty-six years they still have it.

While The Offspring are far from their peak, they are also far from finished. Moreover, they understand who they are playing for. While there were a few songs off of their newest album, the majority of their set was their older stuff. I will admit that nostalgia made the show even better. However, I was pleasantly surprised by the amount of skill involved. In particular, I was impressed with the guitar work. If you’re reading this, I’m sure you are familiar with the old running jokes about talent (or lack thereof) involved in punk music. This could not be further from the truth in the case of The Offspring. I am used to allowing for a degree of noise work in punk, which made the clarity and deliberateness in the guitar work all the more remarkable.

All told it was a wonderful show, and I would happily see them again.