Wintersleep - Welcome To The Night Sky

Hailing from the wilds of Nova Scotia, Canada, has allowed this five-piece to hone their skills at story-telling and their use of effects-laden melodies. With undertones of Interpol and even REM this album resonates with quality and an understanding of music that is most definately missing from the mainstream indie-rock genre. But Wintersleep are no one-trick pony. 'Welcome To The Night Sky' is their third album, and was shortly released after being given the 2008 Juno Award for New Group Of The Year.

Coming in at a shy over 40 minutes this is a journey into the soul and takes the listener on a journey about heartbreak, failed relationships, hopes and dreams. All good content for heart-riddled music. The opener 'Drunk On Aluminium' is a slow and steady whispery tale of violence which allows the listener to feel a little uncomfortable but also to bask in the wonderful deep vocals of lead singer Paul Murphy. The mood starts to rise (albeit with the music, not the content) with Archaeologists, a dank tale about the finding of a boys remains. One of the highlights of this record is track 4, 'Weighty Ghost'. A song about losing oneself as a ghost, the track happily jumps through its 3 minutes and 39 seconds. The use of various instruments and the sing-along chorus at the end are what makes this band perform so well.

The rest of the album moves along at a steady pace and is well recieved. The REM-esque 'Astronaut' is a light relief, which segways into the tremendous finale that is 'Miasmal Smoke & the Yellow Bellied Freaks'. This 8 minute track truly rounds out this body of work in enigmatic style. Using feedback and long interludes of just guitar, bass and drums this track is truly what Wintersleep speak for.

Wintersleep's previous two albums were mearly a prelude to this. Accessible without being overtly indie and 'art school', 'Welcome To The Night Sky' allows the listener to tune out of their everyday routine and experience what the soundtrack to the wilds of Canada would be like.

This band has earned the right to take the music scene by the balls and give it a good shake. If this is the direction that their musical style is going, Wintersleep, along with bands like Frightened Rabbit, The National and Elefant, can take over the crown from bands like Arcade Fire or Interpol.

Papa Roach - Metamorphosis

Since Papa Roach's 2000 album 'Infest' was released they have never managed to regain the giddy heights which that album brought. Being constantly compared with Linkin Park and subsequently being less successful has taken it's toll. But Papa Roach are a hardy band. They have released four albums, including 'Metamorphosis', since then and to be fair have had some worthy mainstream success, with 'Lovehatetragedy' peaking higher than 'Infest' did.

But enough with where Papa Roach have come from. Now on Linkin Park's label they have released what is their most commercial record to date. 'Metamorphosis' starts with a Linkin Park-esque intro which then follows into a definite crowd pleaser 'Change Or Die'. With these two tracks alone you can see the arena tour kicking off. The first single off the album, 'Hollywood Whore' follows. And it all seems very superficial. Taking a stab at socialites in the Hollywood scene is a bit old hat now. We don't start to see what Papa Roach are capable of until track 5, 'Lifeline'. Possibly a reflection on his past Jacoby Shaddix shows a deeper side to his lyrical armory. The following track 'Had Enough' holds its own and keeps the momentum going but this is really where the album peaks, and it starts to go downhill after that. The rest of the record is not bad, it just doesn't speak volumes.

Over the course of 9 years Papa Roach have honed their talents. Jacoby has sharpened his vocals (possibly to the band's detriment?) and they are a well-polished band that can hold their own on a US arena tour. But is this why you really bought the CD? Unlike Linkin Park (yes, another comparison) who have managed to be dynamic over their career, and have released heavy rock, rock ballads and remix albums, Papa Roach have churned out the same radio-friendly content since they rocked the genre in 2000.

When a band release an album like Papa Roach did with 'Infest', it's hard not to compare everything else they do, to that album. Sometimes a band can overcome this. Sometimes a band is just comfortable to play it easy and satisfy their fan base but never really touch any new members.

Brand New - The Devil And God Are Raging Inside Me

Brand New are one of those bands. They skirt the fringes of pop-punk society but when they decide to join the party, well, they bring the noise. The Devil And God Are Raging Inside Me is their master plan. The third album from New York three-piece is as much a departure from their usual style as it is magnificent. Think of this as a fine wine that has matured over the years and deserves time to be appreciated. Take the 54 minutes and 51 seconds to truly enjoy this album and you won't be disappointed.

The opener 'Sowing Season (Yeah)' sets the tone for the rest of the record. Often overt but never over-the-top the album progresses through such journeys into music as 'Jesus' and 'Degausser' and often reaching the giddy heights of heavy rock, with the thrashing guitars and heavy drums of 'Welcome To Bangkok'. The true highlight of this album is the midway point, the track 'Limousine (MS Rebridge)' with its rolling lyrics and repeated chorus it ends with a startling finale of feedback and grinding guitar strings. Well worth the 7 minutes.

The commercial success of this album has caused some much needed attention for Brand New. They are a band with many facets and deserve the success they have received. Reaching number 31 on the Billboard 200 and being named album of the year by punknews is all good news.

Brand New have reached out to new audiences with this record. There isn't really anything grand that it wants to say. There are themes of love and loss and internal conflict, hence the title (also referenced from a conversation with Daniel Johnston), and this is all common fare amongst the pop-rock-punk fraternity. Along with these are many references to modern culture and news stories, such as the seven year old girl killed by a drunk-driver. Jesse's voice has reached a new level, at points screamo and others melodic, and sometimes Modest Mouse, but always on point. There are so many stories behind this album that it would be a disservice to list them here. It is for the listener to find out and go on the journey. And this is the point behind this record. It needs the listener to sit down and take the time to enjoy every chord, drumbeat and musical soundbite.

The Devil And God Are Raging Inside Me will stand as not only Brand New's most adventurous and successful record, but also stand shoulder to shoulder with their brethren in the genre.

Alkaline Trio - Agony & Irony

This is Alkaline Trio's sixth studio album so they have firmly planted themselves in the pop-punk-rock camp and definitely know what they are all about. As you would imagine from such an established band this is a rock solid effort, and is more than worthy to stand next to 'Good Mourning' and 'Crimson'.

The album title really sets the tone for the whole record. As Matt Skiba mentions : "there's a theme of duality on the record". The themes of this album deal with love, loss, hope and despair. From the opening catchy chords of 'Calling All Skeletons' you can tell what this album wants to say. Something that makes a statement. And beneath all the rolling lyrics and radio-friendly choruses there is a real burning issue that needs to be addressed. Possibly a dig at American politics or foreign policy which is veiled by stories of people and the issues they have. It's as though they want to scream from the rooftops of how damaged their country, and possibly themselves, are, but Alkaline Trio are far too clever for that. So they hide it away in the sub-context of a breakup or an argument between lovers. As a first album this would seem pretentious and weak, but Alkaline Trio have earned their right to be a little bit clever.

As for the music, this is standard far from the three-piece. There is a progression in the music, as there should be on a sixth studio release, but if it aint broke, then don't fix it. And the album sales are there to prove the point, reaching number 13 on the Billboard 200. Obvious highlights are the aforementioned opener 'Calling All Skeletons' and the first single 'Help Me'. 'Over And Out' is about as sentimental as these songs get, and even then they manage to pull it off. As for the rest of the album it goes off without a hitch. One notable track near the end is 'Lost And Rendered'. With it's heavy guitars and interesting use of various soundbites it is a good change of pace and throws the listener out of the comfort zone they have settled into. Possibly a good change of direction for further albums perhaps?

If you want to hear a solid record and possibly be forced into thinking about the lyrics then you can do a lot worse than 'Agony & Irony'. As an Alkaline trio album it will stand in the stable as one of the highlights from their career.

One Republic - Dreaming Out Loud

This has been an album that has been sitting under the radar for months now. This has largely been thanks to hip-hop producer Timbaland who "remixed' 'Apologize' for his 2007 album. This alternative version went onto obtain significant chart success which has left the release of the album a little in the limelight. Which is a shame as this is an album of substantial production, mainly helped by Greg Wells and lead singer Ryan Tedder.

Overall the album fails to bring anything new to the table, instead it relies on solid lyrics and American rock principles. In the same vein as The Fray this pop-rock five-piece just make good music. A guilty pleasure some may say.

On the first listen the whole record moved by in the blink of an eye, which may or may not be a good thing. The opener 'Say (All I Need)' is as anthemic as the album want's to be, which on first listen bodes well, but then the album never really gets there. The first few tracks are all a prelude to Apologize though, which in itself is a extraordinary track. With more depth and feeling than the remix, this track is sure to be a favourite at the live shows. The rest of the album flows well and will not disappoint, but at the same time, it wont make you sit up and listen. The only real highlight at the tail end of the album is 'Prodigal', a stripped down ballad which turns into a crescendo of significant impact. The closer 'Come Home', which is a heartfelt ode to a loved one whom he is constantly fighting for, rounds out an album which is a prickly one to pin down. So let's sum this up.

One Republic certainly have a talent for making music, and to be fair, this is their first attempt. Ryan Tedder is one of the lucky few who can express their sentimental, heartfelt side and not look like a total idiot. Keep an eye on him as he will no doubt make more waves in the future (after penning/producing Leona Lewis' number one single in the UK, 'Bleeding Love'). In the end 'Dreaming Out Loud' wants to be something, but it just can't find it's way there.