Ignite – Our Darkest Days – Limited Edition (7/10)

2007

After a long layoff from recording, hardcore punk rockers, IGNITE, return with Our Darkest Days, a debut for the Abacus label that’s further powered by distribution through the almighty, Century Media. In fact it’s the latter who has released this tour edition which features a more active cover, a video of ‘Bleeding’ and two extra tracks. It’s Bad Religion meets the Offspring, socially awake but easy to get into via persistent melody.

“We built this all from miles away. We sacrificed to see these days and from our hearts we’ll have our say. We built this all, our darkest days,” sings the intro. IGNITE are heartfelt; no clever lyrics but, as a compliment, in touch with the common man. For this reason raging against American foreign policy is not misplaced next to missing a lover. Tracks are well placed so that the pace escalates in the second half, overcoming a lack of variation and a mould that seemed unbroken. The faster tracks are more visible proofs of talented musicianship. ‘Know Your History’ pounds, ‘Strength’ chants, ‘Three Years’ inserts cool guitar and ‘Let it Burn’ inflates with harmony. The cover of ‘Sunday Bloody Sunday’ is a mixed affair but would undoubtedly have a concert crowd singing. The acoustic ‘Live for Better Days’ gives a welcome pause from frantic whilst delivering into bonus tracks that don’t match the regular content.

There’s a distinctive Nineties vibe to IGNITE that could be praised or criticized. Either way, Our Darkest Days is a lot of fun, my nodding to the beat (whilst I reviewed) surprisingly leaving me breathless at times.

sinning with Wicked Mike

Billy Talent – 666 Live (5/10)

2007

Punk, pop and grunge grind into melody with edge that is Canada’s BILLY TALENT. 666 Live is in two parts, video and cd, beginning with the former shot in London, Dusseldorf and Nürburgring, 6 songs a piece with only ‘Red Flag’ being repeated. The bands huge commercial success in Germany explains the last two.

The down-to-earth intro shows the band outside and inside the famous Brixton Academy, seemingly sincere as they express their appreciation for fan support and the tour, and to be able to do what they do. Then large silhouettes of the band members greet the swelled, London crowd. Lead singer, Ben Kowalewicz, runs in front of the curtain before it drops, the crowd roaring applause for his presence as he energetically launches into ‘This is How it Goes’. Showing confidence in their set, they jump early into their hit, ‘Devil in a Midnight Mass’. A call to the crowd if they own their first CD gains a big response which I took with a pinch of salt until the crowd repeatedly sang a line. ‘Worker Bees’ is a highlight but the preceding anti-Bush rally never gained enthusiasm. At Dusseldorf’s Philips Halle, Ben thanks Alexisonfire which in itself shows the growing stature of BILLY TALENT but none more so than performing to the gargantuan crowd of MTV Rock Am Ring (capacity 75 000). The accompanying audio CD is the entire Philips Halle set.

666 Live doesn’t overwhelm. The band is burgeoning but are not megastars commanding grand stage sets and lighting. Ben’s shrill voice is carried more by enthusiasm than strength but to his credit he is the bones and flesh of the shows. This won’t attract new fans but existing ones may smile.

sinning with Wicked Mike

Fall Out Boy – Live in Phoenix (5/10)

2008

With one gold and two platinum CDs gained in the past 5 years, a live released is well earned and maybe FALLOUT BOY will be forgiven by long-time fans for not including anything from their debut, Evening Out with Your Girlfriend. In fact, there’s not much from their sophomore either. **** Live in Phoenix’s set list concentrates on their MTV period, a success if judged by the screaming audience. 

Recorded a year earlier than its release, this is taken from the Honda Civic Tour, a night at the Cricket Pavilion in Phoenix. The band’s sense of humour (or is that respect) starts with a parody of Michael Jackson’s ‘Thriller’. This ties in later with the band covering ‘Beat It’ to mixed affect. Crowd participation is huge, sing-a-longs giving weight to ‘Grand Theft Autumn’ and their most recognizable staple, ‘Sugar, We’re Going Down’. In fact, this early section is the highlight. Unfortunately, there’s no build to a finale crescendo and on the way i’m battling to distinguish between tracks. 

Many bands have combined emo, punk and pop but FALLOUT BOY are one of the few that don’t come across too slick, essentially maintaining an image as the fun boys next door. But as songwriters, too many songs are similar so I’m hoping that **** Live in Phoenix marks a transition for the band, a celebration of their history whilst looking towards a more varied future where I’ll discover if they’re an impactful band or the result of mass marketing.

sinning with Wicked Mike

Snow Patrol – A Hundred Million Suns (5/10)

2008

The downside of reliability (a well deserved attribute) is a lack of variation. There’s certainly colour but no rainbows. However, attitude aims more towards the positive this time. What this means, overall, is that SNOW PATROL’s A Hundred Million Suns will be adored by unadulterated fans and newcomers but the inbetweeners like me beg for further exploration.

Lead single, ‘Take Back the City’, is a solid, beat-filled tune but in no way matches previous anthem, ‘Chasing Cars’. However, there’s a lot of merit in the follow-up single, the blissfully in love ‘Crack the Shutters’. It’s big; a sing-a-long chorus makes it the most likeable. Additionally, it holds the best line, “The daylight seems to want you just as much as I want you.” Sincerity and context compete with sickeningly sweet and win. With the exception of the fastest paced, ‘Please Just Take These Photos From My Hands’, it’s hard to distinguish the rest which could have been one long song.

Although an extremely talented producer, it may be time to drop Jacknife Lee (U2, The Editors) who works with SNOW PATROL for the third time. The band needs to be consistently challenged so that they rise from pleasurable to sensational.

sinning with Wicked Mike

Fatcat Records – Splinter Series (6/10)

2008

Samples are a delight. In an earful swoop, I gain a modern understanding of a label. FatCat Records has dealt with respected bands such as Panda Bear, Animal Collective and Sigur Rós. Overall, this collection of tracks impresses.

VASHTI BUNYAN and DAVID KARSTEN DANIEL’s contributions are pretty but unfortunately beg bigger endings to fulfill their initial promise. Instead they float nowhere. The same applies to NINA NASTASIA’s ‘Your Red Nose’ whose stripped down effect highlights vocal clarity and expectation but without the journey reaching the destination it could have. Criticism isn’t disparagement. All are classy, good for sunsets and wine but beg a building structure. Nevertheless, they made me want to hear more. The same almost applies to VETIVER but his deliberate drifting feels entirely appropriate, a gentle mood, a Jack Johnson surf ride. TOM BROSSEAU’s love ode, ‘True to You’, is a comfortable companion.

GREGORY AND THE HAWK are succinct, mixing beauty, horns and guitar towards a culmination that makes ‘Ghost’ a satisfying treat. They are a star here. Others include the haunting TEN KENS, experimental CHARLOTTEFIELD and indie rockers, THE RANK DELUXE. Even more impressive is ‘Augural Wraith’ from OUR BROTHER THE NATIVE. Its samples of children’s voices and breaking dishes as background to claps and subtle voice is charming in the least. FRIGHTENED RABBIT has already captured me. Their Midnight Organ Flight CD is one of the best alternate rock releases of the past 5 years. But even the inclusion here of their great track, ‘I Feel Better’, is eclipsed by ‘Quiet Little Voices’, the contribution from WE WERE PROMISED JETPACKS. Their name suggests disappointment, sadness and indignation, moods furthered by this song. Lyrics are minimal yet musical determination and enormous melody carries the song to great places. This is a band to get more of.

 

sinning with Wicked Mike

Jimmy Eat World – Chase This Light (5/10)

2007

It’s incredible to think that JIMMY EAT WORLD has been around for 15 years. Then again, most, like me, only got to know them with the great commercial rock that was 2001’s Bleed American. Like their releases since then, the formula hasn’t changed except that Chase This Light is even nearer pop than rock now.

I normally worry when singles are placed near the beginning of a CD as it doesn’t show sufficient confidence in the CD as a whole. Here that got amplified as the first three are all in the hot seat. ‘Big Casino’ is easily bigger than the catchy ‘Always Be and finger-snapping ‘Let it Happen’; fuller, joyous and ultimately more powerful. Thankfully, other decent tracks are to be found later but JIMMY EAT WORLD are too damned polite and unadventurous. ‘Electable (Give it Up)’ would’ve packed a bigger punch with a punkish attitude but instead goes too near to being a football jingle. ‘Gotta be Somebody’s Blues’ is a welcome and meaningful drop in tempo but whilst it’s a good journey there isn’t a destination. ‘Firefight’ should’ve been the second single. ‘Carry You’ and ‘Here it Goes’ are simply diluted fillers and too close to boy band material for comfort.

Overall, the lack of variety makes them a band in the middle, popular but with no intention of being landmark. With their original fans getting older without them, the band will lose them. Then again, maybe their goal is to perpetually target a youth market that nowadays is a purchasing authority by itself. With approximately 350 000 copies sold this year (and soon to grow with xmas stockings around the corner), JIMMY EAT WORLD obviously have relevancy to the mainstream. But I want a band with their potential to give me more.

sinning with Wicked Mike