Jimmy Eat World "Chase This Light" Interscope Sounds like: Hook-heavy radio rock Grade: B
Enjoying the home they carefully carved out for themselves in the realm of power pop, Jimmy Eat World's sixth studio release, "Chase This Light," offers their signature sound in 11 easy-on-the-ears tracks. Jim Adkins' earnest vocals promote lyrics of hope, determination and identity, occasionally tossing out an accusation here or there for a complete lyrical experience. Sing-a-long choruses paired with energetic rhythms construct a wall of sound that keeps the ear interested, offering the chance to hear the whole or pick out individual instrumental melodies.
Though not pushing boundaries like in 2004's "Futures," "Chase This Light" isn't afraid to experiment with "Gotta Be Somebody's Blues," playing with a hushed, drawn out sound or serving up their challenging lyrics in "Dizzy." "Here It Goes" encourages audiences to "hoo-ooo" along with the band, and the band takes their own stab at political commentary in the anthemic "Electable (Give It Up)." Other noteworthy tracks are "Big Casino," "Feeling Lucky" and the melodic title track.
Though a handful of songs don't pick up until the choruses - another Jimmy Eat World trait - the overall album is as a tightly produced, solid album that begs to be performed live and is worth more than a listen on the stereo.
-TRACI BROOKS
Crystal Castles "Crystal Castles" Last Gang Sounds like: All your old video game consoles coming to life and throwing a rave, with your older sister screaming from the next room Grade: B
Crystal Castles' debut full-length is creating quite a buzz - and not just in terms of their humming keyboards and warbling digital effects. The album captures its listeners from the onset with its energy and unconventional sound.
The Canadian duo of Ethan Fawn and Alice Glass met doing community service, and, naming themselves after not an Atari video game but rather She-Ra, The Princess of Power's fortress, they decided to create a whole new genre of music.
The pair has broken the electro-pop mold, splicing together indecipherable lyrics and catchy beats to create songs that are sure to make their audience move.
Their popular single "Alice Practice" exemplifies their sound - Alice's intense vocals barking over the sounds of a busy arcade. As intentional as it may sound, the pair had no idea the track, their mic-check, was being recorded until it was delivered to them after their session.
While infectious call-responses ("Courtship Dating") and strong electro-beats inspired by game systems may be the duo's signature sounds, they are capable of incorporating diverse elements into their music, and maybe round two will generate the new genre they've tried to create with "Crystal Castles."
-MADALYN WASILCZUK
Times New Viking "Rip It Off" Matador Sounds like: Your friend's band's new album that you have to pretend you like Grade: C
Remember in middle school when your friend convinced that high school band to play a show in her garage? And how it sort of sounded like music, but the tiny monitor near her trash cans really couldn't handle all of those instruments and a mic, and everything sounded horrible? That's what Times New Viking's album sounds like.
Recorded on 8-track reel-to-reel, the album urges listeners to "please play loud." Even played softly, the white noise dominates on most tracks. Songs like "The Wait," "Faces on Fire" and "The Early '80s" doubtlessly have potential, but it's hard to even listen to more than one song in a row.
Without the gratuitous static, Times New Viking would be producing some endlessly catchy, fun pop songs. The vocal styles of both Beth Murphy, who also plays keyboard, and drummer Adam Elliott are bouncy and fun. Thankfully, the forced rhyming and pseudo-political message of the lyrics is mostly covered by blaring reverb.
Grasping for straws, the band's press release makes a haphazard comparison to the Sex Pistols. Yes, the repetitive hooks and noisy guitar could remind you of the Pistols, but it lacks the attitude. Times New Viking relies too heavily on tried and true pop structures to play out of blown out speakers. Music fans may find the result not worth a second listen.
-KRISTEN POWELL
Flogging Molly "Float" SideOneDummy Records Sounds like: The mix you play on your roadtrip to Tír na nÓg Grade: B+
Irish-American folk-punk band Flogging Molly has played together for over 10 years now. During those years they have garnered comparison after comparison to other Celtic-skewed punk groups like the Dropkick Murphys.
"Float," Flogging Molly's latest studio album, shows that the band has truly carved out its own niche. Carried by lead singer Dave King's uncanny vocal presence, the band traverses everything from Celtic folk music to rock opera to punk rock in their latest venture.
The first two songs on the album sound like they could have been off "Swagger" or "Drunken Lullabies," the band's first two, more punk-driven albums. When the third song, "Float," begins, listeners realize something special is happening. The song builds slowly with carefully calculated rhythm and avoids the formulaic patterns the band has fallen into in the past.
"Punch Drunk Grinning Soul" sounds like it's from a rock version of a Sondheim musical, and "The Story So Far" might be the band's most folk-influenced song to date. Most songs are complex, thoughtful and catchy.
Overall, the entire album has a haunting quality. While Flogging Molly's songs always tell a story, "Float" is a novel, and it's the kind you can't put down.
-K.P.
