EP Review: Distancing - Misser

Misser - Distancing
Release Date: May 28th, 2013
Label: Rise Records
Reviewer: Michael Crawford

Side projects simply don’t produce albums like 2012’s Every Day I Tell Myself I’m Going To Be a Better Person. Misser gave us one of the most entertaining, yet touching records of the year, garnering praise from fans and critics alike. The duality of the vocals between Tim Landers (Transit) and Brad Wiseman (TTNY) are some of the best in the genre, similar to bands like Taking Back Sunday and Mayday Parade. If you like your pop punk catchy just not necessarily poppy (with a healthy chunk of cynicism), then Distancing is the EP for you.


If you’ve been paying attention, Goddamn, Salad Days is one you’ve already heard. Comparable to older Transit, the aggressive yells, muddy guitars and minimal production blend well to form a trademark sound. If you’ve ever felt out of your “goddamn mind”, this song should click immediately. Infrared is only a couple minutes long, but arguably just as good as the opener. About life on the road and adjusting to it, dismal lyrics like I keep waking up alone, bottle next to my bed arouse feelings of heartache and loneliness. Sonically more like their previous album, one has to appreciate the effort that’s been made to improve on an already able sound.


Burn Out is straightforward lyrically, but the way Landers and Wiseman layer their vocals give the track sturdier legs to stand on. They also allow the song to breathe by dropping instruments in and out at the right times. Alone, Die contains the same age-old reference to California, particularly the blunt (but sharply-spat) I’m gonna move to the west coast and you’re gonna die alone. It’s the shortest here, but perhaps the most spiteful. Slow It Down // Write It Out is a superb closer that caps off an energetic EP. The weighty guitar work under the sedative chorus wraps up everything we’ve heard so far from Misser in a great way. To sum it up in the band’s own words: Sometimes you get wrapped up in things, and you’ve got to catch yourself and make sure you’re still going down the path you believe in.


Misser is a band on the rise, and literally so being signed to Rise Records. After already achieving tons of success through touring and social media sites, Distancing should satiate most fans until their next full length (whenever that may be). The tracks offered here are short and sweet, and to an extent more of the same from their critically-acclaimed LP. But the beauty of it all is that they’re still a relatively young band, and indeed already showing hints of where they might take their music next. And given just how good this EP is, it’s difficult to say if Misser ever truly was a side project at all. Distancing is already available as of May 28th.



Vocals: B+

Lyrics: B+

Musicianship: A-

Reviewer Score: A-

EP Review: Put Yourself Back Together - Real Friends

Real Friends - Put Yourself Back Together
Release Date: June 4th, 2013
Record Label: None
Reviewer: Audrey Henry

I’d never listened to Real Friends before being asked to write this review. I’d heard of them and they’d piqued my curiosity, but not enough for me to turn off the Gaslight records that I keep on repeat like a security blanket. With that being said, I was actually relatively excited to finally have an excuse to listen to them.

While the first few seconds of the first track, “Late Nights In My Car” gave me the typical pop-punk vibe that most records have, I wasn’t expecting anything outside of your standardized pop-punk release. You know, songs about missing someone, wanting to leave wherever it is you’re at, feelings of nostalgia. In short, the usual topics delivered in the usual way. Not bad, just pretty standard cookie cutter stuff. While I settled in for what I thought would be a ride on the mediocrity train, I ended up with a pleasant surprise.

While a lot of things about this record are standard, Real Friends manage to deliver it in a not-so-standard way. You can hear traces of pop-punk predecessors in a few of the tracks, but they don’t use the influence as a crutch. It’s more like an outline they deviated from. As the record went on I found myself actually enjoying it and wanting to hear more.

I guess the only way for me to describe the whole of Put Yourself Back Together is to say that it sounds more like a third or fourth album from a band you’ve listened to and loved before. There’s a level of maturity and talent that a lot of bands who’ve been doing this a lot longer haven’t even reached yet. There’s honesty about the music that shows how much time and effort they went into making this record. There’s no disputing how talented these guys are.

As always and with every record, a favorite emerges and this record was no exception. “I’ve Given Up On You” completely stole my heart and refused to give it back. There are few records that have songs on them that genuinely make me feel anything, but somehow Real Friends managed to do just that. “Lost Boy” also deserves a special moment of mention because of the way I ignored three business phone calls in order to listen to it repeatedly.

So I guess this is the part where I admit how stupid I’d been to not listen to these guys until now. Huge mistake on my part, and I’m now making up for it by playing Put Yourself Back Together on repeat. I’m really impressed by the way this record progresses in a cohesive manner and managed to keep me interested from start to finish. I know Put Yourself Back Together isn’t even officially out yet, but I’m already waiting and wondering how these guys are going to top this one.  

ALBUM REVIEW: Heart Attack - Man Overboard

Man Overboard - Heart Attack
Release Date: May 28th, 2013
Label: Rise Records
Reviewer: Audrey Henry

Anticipation for the release of Heart Attack by Man Overboard has had fans on edge for a while now. I myself was no exception to the nail biting wait for the band’s new album. As someone who consistently mumbles about leaving her feelings with her wallet and keys, to say that my expectations for the release were anything but high would be a complete lie.

As always, I was met with pre-record fears. Will it be the same band I’m used to? Will their growth make them unrecognizable? Is this record going to full on suck and make me regret spending so much time wanting and waiting to hear what they’ve been working on?

Luckily for me, the first track, “Secret Pain” eased away all fears and brought on finger pointing happiness. Man Overboard have come back with their familiar sound and lyrical simplistic brilliance. Longtime fans will be happy to hear that the band they’ve come to love haven’t morphed into music unrecognizability. Tracks like “Heart Attack” and ”Re Run” show the bands maturity without leaving you feeling as though you’re listening to a new band altogether.

There’s no denying that this record will leave you entertained and really listening to what these guys have to say. None of the tracks feel out of place or mashed together for quantitative value. You can tell this record is something they worked at and should be proud of.

While there isn’t anything out of the ordinary to really shock or alienate fans, I will say that Heart Attack brings about a change and maturity that any new album should have. Heart Attack isn’t the same Man Overboard record repackaged and with a different title, there’s a distinct difference to this one that makes it a fun listen without it feeling like it’s something that’s been shoved down your throat time and again.

As always, and with every new record, I like to play favorites. With “White Lies,” “Swan Dive” and ”S.A.D” coming in at the top of my list. Luckily for me the placement of the tracks made it relatively easy for me to play them in succession for quite some time. I honestly couldn’t get enough of the songs. In fact, as the album went on, I found myself going back for second, third, and fourth listens to a lot of the tracks. This isn’t a record you’re going to play only once and then shelve away forever.

With the release of so many fantastic new records this year, I was honestly worried about how Heart Attack would measure up against so many great new releases. However Man Overboard have more than proved they can release a quality record that definitely measures up.

Record score: 4.9/5

ALBUM REVIEW: The Greatest Generation - The Wonder Years

The Wonder Years - The Greatest Generation
Release Date: May 14th, 2013
Record Label: Hopeless Records
Reviewer: Devin Beaudoin

The Wonder Years are one of those bands that have gotten so much better with every record they’ve put out, every tour they’ve done, every country they’ve traveled to. We’ve watched them grow up, from writing joke songs about Cap’n Crunch and ninjas, to fighting depression. They’re easily one of the most relatable bands out there right now, with a song for every tough situation you could even imagine, and The Greatest Generation is no exception. This record is The Wonder Years’ finest work to date. They’ve pushed the envelope of pop punk again, just when you thought they couldn’t do it any more.

The record clocks in at just under 50 minutes, which is very lengthy for a pop punk record, but this album doesn’t have any filler tracks. ‘There, There,’ the first track on the record starts slow, but builds up to the emotional second half of the song where you can basically feel vocalist Dan ‘Soupy’ Campbell’s energy as if you were front-row-center at a TWY show. The rest of the album does not fail in comparison to this first track.

Guitarists Matt Brasch, Nick Steinborn, and Casey Cavaliere have challenged themselves musically with the riffs they wrote for this record. The way the three guitars are perfectly layered and compliment each other fluently throughout the record is flawless, especially on ‘Teenage Parents’ and ‘Chaser.’ Bassist Josh Martin and drummer Mike Kennedy hold down the fort with blood pumping bass and drums (check out ‘We Could Die Like This.’) I’ve been a Wonder Years fan since 2008, and seeing the six of these guys really hone their craft and this genre is incredible.

The band keeps you guessing with this record. ‘Dismantling Summer’ reminds me a lot of 90s rock, ‘The Devil In My Bloodstream’ is almost ballad-esque, (as ballady as you can get with a pop punk record) with guest vocals coming from Laura Stevenson. ‘An American Religion [FSF]’ is almost an alt-rock track with edgy, distorted guitars, and angry, gritty vocals from Soupy. ‘Madelyn’ is a little acoustic diddy reminiscent of 2010’s ‘Hey Thanks’ (off of The Upsides). The record finishes out with a 7 1/2 minute medley which features throwback lyrics to songs from Generation, (I was kinda hoping you’d stay / I need you to stay / Two blackbirds on a highway sign), which brings us back to 2010’s war cry of ‘I’m not sad anymore.’

The Wonder Years aren’t one of those bands to change their sound drastically and say that they “matured.” They’re that band that knows what they’re good at, but instead of making the same record over and over, they grow and change that genre. I have no doubts in my mind that the genre of pop punk today would not be the same without the addition of The Wonder Years. The Wonder Years are, have been, and always will be a force to be reckoned with. The Greatest Generation is, as of now, my favourite album of 2013, and has probably eased its way into one of my favourite albums of all time.

10/10

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EP REVIEW: Everything I Never Told You - Chase This City

Chase This City - Everything I Never Told You
Release Date: May 7th, 2013
Record Label: Unsigned
Reviewer: Michael Crawford


Since forming in 2009, Chase This City has achieved quite a bit of success, including having 3 EPs already under their belt and plenty of local shows to boot. The Chicago five-piece has released Everything I Never Told You, as a “preview” of their upcoming full-length, Life Stories, due out later this year. There’s a heaviness about them sonically (TSSF fans, pay attention), and the three tracks sampled here each hold their own. Singer Zach Keenum doesn’t open up too much vocally, but the sincere lyrics and solid songwriting still ensure good tunes.


I Could Just Cave Right In comes in first and fast, and (for me) was a fitting introduction

to the band. The personality in the writing should appeal to Wonder Years fans, though several bands have seen recent success in the same vein (ala Real Friends). And let me be first to say that Chase This City is a band you should probably listen to, and at high volume. Throughout the whole EP choruses ring true, breakdowns appear where they should, and there’s a cohesiveness that makes everything enjoyable. Lyrics are brimming with a tactful honesty, including This mindset is my demise, but also my will to fight. Washington and East will hopefully rock venues in the next few months, because this is most definitely the standout song. The stupidly catchy I’m on the corner of Washington and East street. I lay my head face down on the concrete sung by Keenum are unable to be left unbelted. It’s exciting to know that Everything I Never Told You is just a taste of what’s to come later this summer.


The last track, Stuck on the Outside, is the most versatile. Confessions of pain and not progressing through life fill the speakers. Darker than the first two songs, it makes sense having it as the final one. The shouting is effective and probably really fun to scream back at. The final two minutes are actually wonderful, and the repeated If this how it feels when your true colors show, I think I’d rather be alone hit home. Starting fast, the song bounces back and forth between heavy and restraint impressively, then swings back into a brisk finish. And then, that’s it.  Everything I Never Told You is out May 7th, and even if you’re not a fan of them already, it’s worth checking out. Give these guys a full LP and who knows what kind of pop punk anthems Chase This City could create.



Vocals: B

Lyrics: B+

Musicianship: A-

Reviewer Score: B+

ALBUM REVIEW: Magnolia - Turnover

Turnover - Magnolia
Release Date: February 4th, 2013
Label: Run For Cover Records
Reviewer: Audrey Henry

I’d be lying if I said I wasn’t a little wary to be reviewing the first full-length release from Virginia Beach pop-punk band Turnover. Growing up in Virginia, I can be the first to admit that this state is not known for breeding good pop-punk bands. With that being said, I staved off my apprehension and went into listening to the record with an open mind. Or about as open a mind one girl who will keep the same record on repeat for months can have.

Magnolia starts out with “Shiver” a fairly upbeat track, that four seconds in had my toes tapping. A very good sign, as it immediately made me want to hear more. I wasn’t expecting any of the songs to get stuck in my head, and for the most part they didn’t. That is until “Flicker And Fade” played. I can be suckered into loving almost anything with an acoustic feel to it, and this track was just that as well as having an infectious property to it that had me subconsciously humming along without ever really meaning to at all. While none of the other tracks, with the exception of “Most Of The Time,” really stood out to me, every song on the record really ties in well together. Nothing seems out of place or like it doesn’t belong. The album has a really good uniformity that isn’t always seen these days.

For the most part, the album has a really chill and laid-back feel to it. Nothing really made me want to jump out of my seat and start moving, but it kept me interested both lyrically as well as musically. It’s the perfect album for clearing your head on a night drive.

In all Magnolia is a solid first album. It has a chill factor I can really appreciate, as well as those few toe tapping moments I always come to love. Suggesting everyone give it a listen is a no brainer as far as I’m concerned. Go forth. Listen.

Reviewer score: 3.7/5

ALBUM REVIEW: Save Rock And Roll - Fall Out Boy

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Fall Out Boy - Save Rock And Roll
Release Date - April 15th, 2013
Record Label: Island / Decaydance
Reviewer: Michael Crawford

Put on your war paint. After a three and a half year hiatus Fall Out Boy are finally back, and in an epic way. Rumors have long swirled around the ol’ internets of a reunion, but up until a short couple months ago, were all unfounded. The band’s been quick to return to making public appearances and releasing singles, infecting huge music sites and personal blogs alike. Save Rock and Roll isn’t a return to form to their pop punk roots (which will undoubtedly disappoint many), but instead a rejuvenating effort from the sorely missed four-piece. The album is packed with hefty choruses, superb Patrick Stump-sang vocals and a few notable guest singers. Even though it doesn’t fully deliver on the promise the title assures, SRR is a near-perfect equilibrium of quasi-nostalgia and admirable experimentation.

The orchestral start of ‘The Phoenix’ coaxes the listener with a “back-and-bigger-than-ever” sentiment, and opening lyrics: You are a brick tied to me that’s dragging me down, strike a match and I’ll burn you to the ground : hit like…well…a ton of bricks. Stump’s vocals pierce through the dance-y percussion and it’s evident FOB has been waiting for this day just as much as the rest of us. The throwback style-titled ‘My Songs Know What You Did in the Dark (Light Em Up)’ echo the same sentiments, and the simplicity of its chorus (along with anthemic chanting) has warranted heavy airplay across the country. The first two tracks spring SRR off to a fiery start, but ‘Alone Together’ provides a change of pace. Auto-tune is present (though not distastefully), and it’s here where you see the genre-bending begin to take form. Parts acoustic guitar, dashes of radio hip hop and fistfuls of poppy goodness, they’ve clearly come far since the Take This To Your Grave days. It may throw you for a bit of a loop at first, but is also a possible grower depending on how open of a mind you have coming in.

If Fall Out Boy were an indie/electronic hybrid act, ‘Where Would the Party Go’ would be their defining hit. If you haven’t already accepted their inevitable evolution from a punk band from Chicago, you never will. Much like ‘The Phoenix’ and ‘Light Em Up,’ the third and fourth songs go hand in hand together in terms of style and spirit. Though Stump refuses to hold anything back all record (he’s better than ever), Just One Yesterday exposes his oft-overlooked ability to sing at lower ranges. In typical, cheeky FOB fashion, lines: Anything you say can and will be held against you. So only say my name: prove songwriter/bass player Pete Wentz can still keep us grinning. The Big Sean (and thankfully not 2 Chainz) collaboration, ‘The Mighty Fall,’ can easily be skipped. The rapping portion seems dull and uninspired, and one would think the band would’ve selected a bigger name (Eminem, anyone?) to represent the world of hip hop. The rap/rock dynamic also fails due to too much going on at the same time and falls flat compared to the rest of album.

‘Miss Missing You’ is the best example this album has as far as filler is concerned. Aside from the shrewd: Sometimes[…]the person that you’d take a bullet for is behind the trigger: there isn’t much to distinguish itself from the rest of SRR. Stump’s most voracious and compelling performance on the album, ‘Death Valley,’ is sure to please fans both on CD and during their live set. It’s fast, impossible not to dance to and incredibly fun. A brief and unexpected dubstep breakdown actually benefits the track, and the suggestive lyrics: Let’s put the “D” in dirt now baby: don’t come off as cheesy or forced; but simply Fall Out Boy being themselves. ‘Young Volcanoes’ boasts an imposing chorus backed by handclaps, acoustic guitar and gang vocals. Stump’s galvanizing: When Rome’s in ruins we are the lions, free of the coliseums: set the tone for one of the album’s best numbers.

The final two songs are also home to SRR’s biggest guest spots. On ‘Rat a Tat,’ Courtney Love is allowed enough track time to tirade about, well, something. Thankfully, her out-of-left-field appearance (“It’s Courtney, bitch.” Really?) doesn’t hinder the track’s quality. Still, it’s hard not to sense at least a hint of irony in her selection, with chorus lyrics referring to “Love” as a weapon…Curious. On the final and title track, ‘Save Rock and Roll,’ the band brings everything to a theatrical conclusion. Powerful drums and a dreamy piano set the stage for one of FOB’s finest songs to date, and eventually none other than Sir Elton John himself. The commanding ballad preaches: You are what you love; not who loves you.

And essentially, that’s what could be argued for Save Rock and Roll as an album. As diehard of fans Fall Out Boy has, it’s clear they don’t want to be defined by the tweens of yesteryear. They could’ve easily retraced their steps and given us “what we wanted” after a break from the limelight, but instead decided to up the ante and take more chances. Most likely you will either hate or love SRR, but this isn’t the Fall Out Boy from 2003, 2005 or even 2008. No. This is Fall Out Boy in 2013, and they are (seemingly) here to stay.

“Save Rock and Roll is a personal statement for the band as much as anything else; because at the end of the day rock and roll saved us.” - Pete Wentz


Vocals: A
Lyrics: B
Musicianship: B-

Reviewer Score: B+

ALBUM REVIEW: Young New England - Transit

Transit - Young New England
Release Date: April 2nd, 2013
Label: Rise Records
Reviewer: Michael Crawford

Transit has a habit of re-inventing themselves. They’re a Boston five-piece that have steadily progressed from their pop punk roots (This Will Not Define Us), into a stellar indie/punk sound (Listen and Forgive) that is hard to slight. Followers of the band will surely compare Young New England to their last release, but ultimately this album should prove more accessible to everybody else. Joe Boynton shows he isn’t afraid to try new things as a vocalist, and the music itself does offer more of a variety than L&F. Unfortunately, this album isn’t so much of a progression as it is (dare I say) a step backwards. Poor production, questionable lyrics and a general “dumbing-down” will most likely piss off a lot of fans.


The first song and initial single, Nothing Lasts Forever, is a toe-tapper that serves well as an introduction. Though not as lyrically astute as we’ve come to expect of these guys, the depressing message contrasts well with the brighter tones the instruments bring. Fans of Misser, a side project of Transit’s own Tim Landers, will quickly feel at home with this album. Second to Right is a call for erasing the past, and while not breathtaking, has its moments. Young New England bares an exuberant chorus that will no doubt polarize fans. The simplistic, ordinary lyrics here just don’t hold a candle to what we heard on L&F. But whether or not you appreciate the alcoholic references, the sense of eternal youth and comradery is relatable for all. The title track reminds us no matter how lost we may end up, there’s always someone out there willing to lend a shoulder.


Transit has always managed to connect with their fans through honest lyrics, and Sleep is no exception. The fourth track is an ode to self-realization and trying to understand why we do the things we do. So Long, So Long keeps things flowing, but unfortunately isn’t that memorable. There’s nothing inherently bad about it, it just doesn’t stick out like some of the other songs after a first listen. Weathered Souls has a striking chorus that turns enormous by the 2:40 mark. Opening lines Do these streets remember your face? Well these bricks still carry the weight paint vivid scenes, and most likely this one will end up as a favorite of current Transit fans. Hang It Up is slower and relaxing, and lyrics such as Pain is temporary, you will love and you will live teach us patience and having the ability to slow down and appreciate what’s around you.


Don’t Go, Don’t Stray may be a sad anthem, but the well placed bro chants give it a unique twist you won’t see much of on YNE. Transit’s brand of sad is definitely their own, but they’ve sprinkled in bits optimism this time around. Sadly, Thanks for Nothing and Summer, ME are plainly forgetful, and you understand why after noticing the surprising amount of mediocrity in the lyrics. It’s also around this section of the album where the instrumentation begins to blend, and not in a good way. Disappointing to see, especially in comparison to the first half of the album. Hazy comes off downright corny, and it’s difficult to justify its presence on YNE. Bright Lights, Dark Shadows is all right, but by this point one can’t help but wonder how this could be the same band that released one of the best albums of 2011. Thankfully, Lake Q at least ends things on a positive note. The final track sounds more like the Transit we love, and not the scattered, uninspired mess of songs that precedes it.


So just what happened to Transit? Perhaps they should have held onto the reins a little longer and trimmed the fat. Is Young New England a bad album? No, but it is a disappointing one and if you’re not already a fan of Transit then YNE won’t change that. They’ve carved themselves a nice niche into the scene, and the faults listed have nothing to do with the fact that they aren’t a “true” pop-punk band anymore. There is some praiseworthy material here, but also missteps that can’t be unheard. Maybe the band just needs to ease off and let their side projects run their course before moving on to another album. Regardless, Transit has merely stumbled where many bands have fallen off completely. Be sure to look out for their Spring headliner tour the next couple of months and pick up Young New England available tomorrow, April 2nd.


Vocals: C+

Lyrics: B-

Musicianship: B
Reviewer Score: B

ALBUM REVIEW: What You Don’t See - The Story So Far

The Story So Far - What You Don’t See
Release Date: March 26th, 2013
Label: Pure Noise Records
Reviewer: Audrey Henry

Going into listening to a new album from any band I like is always mildly nerve-wracking. While I try to go into everything with an open mind, there’s always this level of apprehension that the new work won’t be as good as the last, or that it’ll outright suck. Luckily for me, this was not the case with What You Don’t See from The Story So Far.

Going into listening to What You Don’t See I was immediately hit by certain distinctions between this album and the last. While it took a while for Under Soil and Dirt to grow on me, this album sucked me in almost immediately. There’s no denying the bands ability to write catchy tunes that stick in your head and leave you walking around humming the songs to yourself throughout the day.

The Story So far have mastered the art of conveying emotion while at the same time keeping the record at a high energy pace that leaves you in an upbeat mood and waiting for the next track. Band maturity and growth are evident in this record, but not in a way that makes you feel as though you’re listening to a completely different band. They’ve managed to grow and perfect their craft without changing the catchy pop-punk style that they’re known for.

When it comes to playing favorites, “Stifled” and “Bad Luck” came in as my top two tracks. I really appreciate the simplicity of the songs, as well as the outrageously catchy vocals. It won’t be hard for pop-punk lovers to find at least one track from What You Don’t See to fall completely in love with.

Listening to the record was a pleasurable music surprise. I went in expecting to hear a record that was okay, but would need more listens in order to truly stick with me, and was met with something that completely blew my mind. The Story So Far haven proven that they can write solid, catchy tunes that will leave listeners wanting and expecting more. As long as they deliver, I’m more than positive they’ll have no trouble sticking around in the music scene.

Reviewer score: 4.3/5

EP REVIEW: “Bridges/Streetlights” - Four Minute Mile

Release Info:

Four Minute Mile - Bridges/Streetlights
Release Date - March 5th, 2013
Label: Better Days Records
Reviewer: Damo Musclecar


I know nothing about these guys and had never even heard of them until I was given this 4 track EP to review. First impressions are that these guys come from the NOFX meets New Found Glory school and deliver pretty standard pop punk but it is so damn catchy and the production is huge. There’s also a bunch of neat guitar licks too!

Vocally it’s a good blend of Fat Mike-ish meets angrier gruff vocals and comes complete with the occasional chants. Chants are awesome and hugely underrated. Like I remember the first time I really caught on to the whole chanting thing. It was when I was listening to Twisted Sister’s ‘Stay Hungry’ and the chants of “ROCK!” happened in “I Wanna Rock” I felt a sense of camaraderie. It was like I became part of one big family and in unison, we wanted to rock!

But I digress, Four Minute Mile (who I think got their name from those Get-Up Kids) don’t want you to rock, they want to punk you up with poppy gems of catchiness and have you skanking like a pickle around the room. I was hooked in pretty quickly and although it’s not my on my favourites of 2013 list, these guys have a promising future and will appeal to fans of the No Sleep / Run For Cover umbrella of bands.

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