The Audition "Controversy Loves Company" (Victory Records) Sounds Like: Fall Out Boy, The Academy Is B
It seems as though the pop/punk sensibility of Blink 182 has faded away into mere memories of our teenage pasts. However, a new batch of so called punksters has emerged from the ashes of the post-teenybopper movement and has bombarded the music scene with images of young kids rocking out in tight, high-collared Lacoste shirts and ripped jeans. The Audition, although mediocre in sound, have capitalized on this with their album "Controversy Loves Company."
This Chicago band not only visually fits the profile of the new punk movement, but has a sound that does not stray far from the other bands spawning from this melodic-rock infused genre. "Controversy Loves Company" is filled with catchy lyrics backed by the intense yet whiny voice of front man Danny Stevens. Repetition is the key for this quartet, with lyrics like "Say you'll never, ever/Say you'll never, ever/Say you'll never let me go," from the inspiring love sick tune "Don't Be So Hard." The Audition also leaves room to poke fun at the blatant overload of the generic "punk" sound and the follow the leader idealism of corporate record executives with the track "You've Made Me Conscious." The track tries to be thoughtful with a message of individualism and defiance, resembling Jimmy Eat World's "In The Middle."
The album rounds out with the party anthem "Rep Your Clique" and a modern day power ballad "Smoke and Mirrors." The 10-track record is well crafted; however, some of the songs seem to fuse into one another, giving the impression the album is actually three or four eight-minute long songs.
Sure, the album has its flaws, emphasized by the fact that the band's label, Victory Records, repeatedly compares their sound to that of Fall Out Boy, complete with a big blue sticker on the album cover further cementing their sentiments. But this is not to say that "Controversy Loves Company" is all bad. Although their sound is more a synthesis of other similar sounding bands, The Audition does have a knack at producing danceable, head bobbing songs that will please any "punk-emo" fan worth their Hot Topic CBGB shirt.
-ANDREA L. ALFORD
The Rakes "Retreat" (Dim Mak) Sounds Like: Bloc Party, Kasabian A
Those currently disillusioned by the music playing on MTV and the radio may want to start looking overseas for their tunes. U.K. bands like Bloc Party, Kaiser Chiefs and Franz Ferdinand are leading the new British invasion. Now here come the Rakes with their catchy U.S. debut EP, "Retreat."
The Rakes know how to keep things short. The only track on the album to go over three minutes is a dance remix. The band has a talent for packing infectious riffs into every song. "22 Grand Job" clocks in at a little under two minutes. "Strasbourg" is also brilliant, adding a decidedly punk chorus to the band's already fiery energy.
Also refreshing is the music's use of social commentary, replacing the standard love/hate themes currently filling up the radio waves. Title track "Retreat" sounds a bit like Bloc Party, but it's also got cynical lyrics about night life like "Everything is temporary these days/Might as well go out for the fifth night in a row."
The Rakes' pace is only slowed by the aforementioned dance remix of "Retreat," which seems unnecessary given the already strong beat of the original, but still, it's not a bad track.
Fans of the "Retreat" EP may consider importing the Rakes' full-length debut "Capture/Release," which won't be out in America until early next year.
-ADAM BENDER
Broken Social Scene "Broken Social Scene" (Arts and Crafts) Sounds like: A less-than-amazing album from Canadian rockers who love Pavement. B-
When talking about Broken Social Scene's new self-titled album, it's impossible not to compare it with the group's previous work. The new album is "good," though it has great moments - like slacker-alt-rock tribute "Ibi Dreams of Pavement (A Better Day)," which is actually a fine tribute to Pavement.
But 2003's "You Forgot It In People" was a "great" CD. The album had a fantastic airy feeling and a really strong opening with the poignant "Stars and Sons" and the climatic "Almost Crimes." With extensive tours, festival gigs and stories about abuse by the NYPD, the large band quickly developed quite a reputation in the indie world.
And with more instruments, new ideas and open ears available to those Socializers from the Broken Scene, the self-titled album should have been better. But there's something just not quite there. It's tempting to blame it on the general mediocrity of their native Canada, but in reality the answer is probably closer to the fact that it's really, really difficult to meet such high expectations.
Excitingly titled tracks like "Windsurfing Nation" tend to get listeners revved up for mind-racing adventures in grand soundscapes, but instead all they'll get is a somewhat pleasant track with a bewildered Englishman rapping for about ten seconds.
It is worth it, however, to shell out about $24 to go see the group on the Nov. 26 at the 9:30 Club. Not only are they rumored to be capable of a good live performance, but they will be performing with Fiest, the siren who sings the female part on "Almost Crimes" from "You Forgot It in People."
-JOSH KRAMER
Institute "Distort Yourself" (Interscope) Sounds Like: Bush. B-
Former Bush frontman Gavin Rossdale has found that it's not easy being the First Husband to the new queen of the pop music world. While his wife Gwen Stefani has seen her debut solo album catapult her to "It" girl status, Rossdale has barely been heard from since Bush folded in 2001. Now Rossdale is hoping to steal some of his girl's spotlight with the inaugural release from his new band, Institute, with a sound that will remind listeners of, well, Bush.
The album opener, "Bullet Proof Skin," has also been tabbed as Institute's first single, but the song lacks a great hook and could have been written by any rock
band on the planet fairly easily. The much more electrifying "Come On Over" starts out with a Red Hot Chili Peppers-style intro and then moves into Bush-esque power chords and an anthemic chorus that should be a highlight of the band's concerts.
Most of the highlights are found towards the end of the album. "The Heat Of Your Love" sounds like it could have been belted by Dave Grohl on the first disc of the Foo Fighters' album "In Your Honor." Gwen Stefani makes an appearance in the softer ballad "Ambulances," but the vocals of Rossdale end up overshadowing that of his lady. Final track "Save The Robots" finds Rossdale proclaiming to critics and fans alike "So don't you try me/You'll never find me/I was here before/You never found me then." Institute's debut may not break any new ground, but for Bush fans and fans of grunge in general, this is an enjoyable release nonetheless.
-MAX ROLLINGER
