There are very few bands that consistently remain at the top of my listening list - for whom a new album is eagerly anticipated like a present on Christmas morning (or Hannukah evening). Rise Against is one of those bands for me. Their previous two albums, "Siren Song of the Counterculture" and "The Sufferer and the Witness" are two, interchangeable records of gems. Each song is catchy, well performed and angry as hell. These are songs that haunt your dreams and move you to action. Even the record before those two, "Revolutions Per Minute" is a punk rock masterpiece featuring a great cover of "Any Way You Want It" showing that these straight edge vegan hardcore punkers DO know how to have a little bit of fun.
"Appeal to Reason" arrived in the mail and I instantly popped it in - the sound was instantly recognizable but also different. Present, as always, is the usual punk rock beats and Tim Mcilrath's unmistakeable, melodic but on the verge of cracking voice. There are, however, new sounds here and some things missing.
Rise Against has embraced some more traditional sounds and I would refer to this as a Rock record that fits in right next to the Foo Fighters as much as the band's punk roots. Also present is an even deeper influence from Bad Religion, featuring significant use of the "oozn'aahhs" three-part harmony method coined in punk by the Adolescents, but perfected by Bad Religion. This record is a step forward in maturity for Rise Against.
Moving forward, however, means losing some of the youthful energy. There are no straight ahead, traditional hardcore songs here - for an example of what I mean, listen to State of the Union on Siren Song of the Counterculture. I'm not complaining about this change, simply making an observation.
Rise Against, at their core, is a rare and unique band in that they carry a meaning and live that meaning to the fullest extent. The album arrives in a fully recycled package using all vegetable based inks. Along with the CD, we receive a sticker saying "Meat is not Green, Go Vegan." I promptly gave the sticker to our Vegan receptionist, Jasmine. Appeal to Reason is an appeal to the reason of humanity and America asking us to stand up to our government which has mislead us for so long.
There are, of course, songs of love, hope, stories, journeys and action. But at the core, this is a record about making our nation and our world a better place to live together. Highlights include the opening track "Collapse (Post Amerika)" and the excellent bass chord groove on "The Dirt Whispered." Also, Rise Against's ever-present acoustic track "Hero of War" speaks straight to the heart.
I continue to be impressed by Rise Against - whereas in my mind, "Siren Song..." and "The Sufferer..." remain so similar I'm not sure which track is on which album, "Appeal..." will always be it's own album and experience to me - one that stands alone as a work that I can set apart in my mind.
All fans of melodic rock with a slightly preachy side shoudl please go check out Rise Against and their new record "Appeal to Reason."
Victory records is consistently one of the best hard rock labels in the world. They supported much of the Hardcore and Punk scene, and along with Roadrunner and Epitaph records are responsible for much of the great independent Hardcore, Punk and Metal that you hear today.
I will not write a full review of this album because I just got it in the mail yesterday and, unlike some other music journalists out there, I choose to only write reviews when I can speak intelligently about the record.
Here is what I will say. I popped this CD in and was instantly excited because I knew my readers at the Rockvine are going to lose their shit when they hear this band. Sister Sin is what the Crue Heads out there have been waiting for.
Imagine this: The sound and party attitude of Mötley Crüe mixed with the sinister subject matter of Judas Priest and Iron Maiden and just a little of the punk attitude of Motorhead. Take all of that together, do it well and put a hot tattooed chick in leather with a Swedish accent at the front of the band.
Ben Folds - Way to Normal Available September 30th, 2008 Check him out: www.Myspace.com/BenFolds
Ben Folds survived one-hit-wonderdom by sheer passion alone - passionate songs and even more passionate fans. Though he has not scored another hit, Ben Folds remains one of those names in the backs of our minds, Rock enough for the mainstream but cool enough for the hipsters. For those who were introduced to him by his quirky and misnomered trio, Ben Folds Five (I know the hipsters know why the band was named that... but I don't so you don't need to correct me), you may remember the hit song "Brick" - you know "Sheee's a brick and I'm drowning slowly..." Excellent song.
On his latest "solo" effort, Folds offers less an album, than a study in quirky melodramotic songs. Influences on the disk range from Buddy Holly to Nine Inch Nails to Musical Theater. Despite the disparate sounds, the disk actually offers a fairly coherent journey - often eclectic artists like Folds release albums that sound like extended demos rather than records.
Way to Normal, however, is tied together not by genre, but by Folds' unique, not quite good but exceptionally endearing voice. In an oddly audacious move, the album starts with a fun tune called Hiroshima (has there ever been a fun tune called Hiroshima?) that is a live recording of a song about Ben Folds falling off stage at a concert in... Hiroshima. The subsequent songs dabble in electronic/industrial, staright ahead rock, and of-course, melodromatic singer-songwriter tunes.
My favorite pair of songs on the record include the slightly up-beat break-up song "You Don't Know Me" co-vocalized by songstress, Regina Spektor, followed directly by "Before Cologne" and "Cologne" (two tracks, one tune). Both songs have the Epic melodic qualities that transcend genre lines and, I truly believe, the most hardened rock fan could enjoy. The album lags a bit in the middle as "Errant Dog" and "Free Coffee" are much less inspired, only to be rescued by "Bitch Went Nuts."
All-in-all this record falls in the same place I place many albums - 2 or 3 of the songs are some of the best I've ever heard. But as an album, it doesn't blow my mind. I highly recommend you give it a chance and decide for yourself.
I am officially a new convert to the Kings of Leon. When they first came on the scene a few years ago, I placed them on a shelf with the rest of the retro rock scene that I didn't like from the start. I'm not a hipster... I like Rock - clean, heavy, simple and full of emotion. At Coachella 2007, I purposefully avoided the main stage as the Kings of Leon brought their brand of Southern Rock to Palm Desert.
Finally, some years later, friends began introducing me to the more modern, rock experience that Kings of Leon has to offer - experimental sounds that move away from my perceived Skynard copy-act to something modern. unique and different. Finally, I made the request to receive this, their newest album upon release from their record label at RCA, which they generously provided via their online system on the day of release.
I have lived with this record for a few days now and I am officially converted. There is an earnestness to singer and lyricist Caleb Followill's voice that is so endearing, a first-listener simply must listen on for a full song. As you are drawn in, the guitar work of Matthew Followill becomes one of the many hooks to the music. Bassist and drummer Nathan and Jared add a unique, laid-back Southern vibe to the tracks - note their last names are also Followill (three brothers and one first cousin).
What I like so much about "Only By The Night" specifically is how it walks the lines between retro rock, modern rock and experiemental rock (a la Radiohead) with with an amazing amount of skill. Caleb's voice draws the whole project together with a youthful sound over mature songwriting. His voice sounds almost out-of-place at moments, mixed high and not always what one would expect from the type of music. Yet, it works.
Upon several listens, my personal standout track is indeed, the first single, "Sex on Fire" an emotional love song of sorts. Right now, the song I'm really enjoying is the one right after it on the record "Use Somebody."
Check 'em out, and as always - feel free to leave a comment with your own review anytime!
Results are in! Thanks to Amor for this great review of Black Butterfly! Feel free to continue submitting and posting comments on this (and any other) record!
Let me start by saying that I really didn’t know much about Buckcherry before Cruefest. I had heard the song “Crazy Bitch” a few times, and of course “Sorry” was overplayed by the pop station and wasn’t my favorite song. I was, however, impressed by Buckcherry’s live show at Cruefest, and that made me want to check out the new CD. I don’t own “15” so I can’t compare this CD to the previous.
Now for my review of “Black Butterfly”…… I think there is little something for everyone. There is a lot straight-up rock songs like “Rescue Me”, “Tired of you”, “Fallout”, and “Imminent Bail Out” that make you want to jump around and play air guitar (but only when there’s no one around to laugh at me!). There is some sleaze like “Too Drunk”, “Talk to Me” and “Cream”…. just enough to make you make feel naughty for listening to it, but not overdoing it. And last but not least, there is some softer stuff like “Don’t go Away” and “All of Me”. There is nothing hotter than seeing the sensitive side of the tough bad boy. I LOVE “Don’t go Away” and I hope it does very well on the radio.
If you’re a fan of Buckcherry, then you already own “Black Butterfly” and you know what to expect. I’m writing my review for those who are like me: Don’t know too much about Buckcherry but looking for a good rock-n-roll CD. Compared to other artists, Buckcherry has presented a wide variety of lyrics, rhythms, and catchy hooks in this CD (there is nothing worse than putting in a CD and after 3 songs they all sound alike). I have played “Black Butterfly” at least 10 times since I got it and I’m not tired of it. I definitely got my money’s worth!!!!
Thanks Buckcherry! I think you’ve got another fan here!!!!
Let me begin this review by saying, I am not a Metallica fan. Unlike many Rock writers I'm not going to get up and say "I love Metallica, but only before the Black album..." I was only 11 years old when Load came out - to me they didn't sound tough. I, a Pantera, Rage Against the Machine, Misfits, Nirvana, Soundgarden listening child of the grunge era and punk resurgance, thought they sounded tired and groaning (I know, Pantera, Soundgarden and Rage wouldn't exist without Metallica, but Metallica wouldn't exist without the Misfits). That and James Hetfields voice just never did it for me.
Enough with the metal sacrilage - who am I anyway right? I just wanted you all to understand that I am not a Metallica ass-kisser. I WANTED to dislike Death Magnetic. I WANTED this to fit the formula I had heard all about - an amorphous record of 8 minute meanderings with no hooks and guitar solos that sounded tired 20 years ago. I, however, cannot make any such statements.
The fact is Death Magnetic is a fucking awesome record. The package from Warner Bros. arrived exactly as scheduled on the 12th (this album, for some reason, came out on a Friday) and the packaging alone was awesome. A 3-D layer, on layer image of a grave. No matter what you've seen online, it's much better in person.
It took me a few days of listening to truly get into this record. At first listen, I felt it was indeed an amorphous wandering CD of non-songs and metal riffs. It wasn't until I was on my way to a Car Wash on Santa Monica Blvd, between La Brea and Fairfax, that I realized - there are great songs here. Every single track is a coherent, yet, ecclectic blend of metal riffs, catchy vocal hooks and well edited thrash guitar leads and solos.
Sonically, my personal favorite song is the third track "Broken, Beat & Scarred." The song is infectious - every other line repeats a strong repetative hook, whether it be "What don't kill ya, make ya more strong," "Show Your Scars" or "We Die Hard!" The riffs are driving and groove - the drums are... Lars Ulrich. I genuinely like this song - clocking in at six minutes and twenty seconds, it is the shortest song on the record.
As just about everyone else on the planet points out, what makes this record so special is its throw-back while looking forward qualities. Producer, Rick Ruben made the recommendation that Metallica return to standard guitar tunings and re-introduce the guitar solos that were left off of their 2003 release, St. Anger. The band also returns to more traditional thrash songwriting methods that leave room for plenty of riffs that, in a more pop environment may be left on the editing room floor, and solos that certainly wouldn't have a place on the record.
Many bands as influential and successful as Metallica have fans that wish the band would just return to their olden days, play the old shit and get off stage already - fuck the new stuff (I came across plenty of them at the recent Nine Inch Nails concert). The bands, however, really need to keep moving forward in order to keep things interesting for themselves, gain new fans and a legacy. Death Magnetic answers a question - what would it sound like if Metallica abandoned the frenetic sounds of St. Anger and moved back to their thrash roots, 27 years after the beginning.
The result is a mature, fun, rock & roll record.
But again, I'm not a fan - hell, I'll probably never listen to this record again after writing this review. If you agree, disagree, or hate everything I've said - leave a comment and/or write your own review. If I like what you have to say enough, I'll post it here.
Motörizer is the 20th studio album from Motörhead. Most bands don’t get this far, out of those who do, very few sound this vibrant.
Runaround Man gets Motörizer off to a pounding start, Buried Alive packs a punch, Rock Out (which features the line “Rock out, with your cock out”) does what the title suggests and One Short Life adds a bluesy edge.
There is nothing on this latest offering which will surprise you, Motörhead have a signature sound and they play to their strengths. The key is that after all this time (the band formed in 1975 and Lemmy is 62 in Dec) they are undeniably strong.
The lyrical content is also standard fare for Motörhead. Lemmy writes about sex, politics and Rock N Roll. But as with the band’s music there is always something extra to discover within the traditional Motörhead template. Kilmister’s work as a lyricist is enormously overlooked, When The Eagle Screams and The Thousand Names Of God are the latest worthy contributions to his catalogue of songs that demonstrate there is a thoughtful side to the band that most people don’t take the time to discover beneath their sonic assault.
Ultimately the world should be grateful for another Motörhead album. They were pioneers and they still lead the way in terms of attitude and inspiration for the bands of tomorrow. One would think there can’t be that many more new releases in the future, but then people have been saying that for years and critics originally wrote the band off when they formed over three decades ago. Lemmy’s desire to prove those people wrong, along with his undiminished enthusiasm for the band is admirable. He thinks Motörhead is still around because we deserve them. This writer agrees that we do. But at this stage we can’t take them for granted. So get Motörizer and celebrate the fact there is still a Motorhead and they still kick your ass, even after all these years.
I could write this review with a one sentence, true story, from a FF5 show and it would tell you all you need to know about this band. It's a story, so awesome, that so perfectly conveys how great this band is, that I could be done with this review in one, single sentence. I could also tell you that their 2006, full-length debut "Business Up Front/Party in the Back" is one of the few albums that you can listen to, start to finish, and dance OR fight to the entire time. It's a dance-y, rocker, hip-hop, mash-up that is one of my favorite albums OF ALL TIME.
Now, again, I could tell you everything you need to know about this band in one sentence, from something I witnessed during their set, and you could stop reading. I could tell you that OR tell you that their new album "Dance or Die" is one of those albums you don't like the first time you listen to it. It's weird and different and electronic (the latter implies the two former). Songs like "Dance or Die" and How in the World" are decent songs, but not hard, they've got none of that fist-pumping vibe that you heard on Business Up Front... Upon a few more listens though, you hear that, really, it's not that different. You've got "Rip it Up" and "D-I-E 4 Y-O-U" that remind you that you're still listening to the same, fun, Family Force 5. Is the entire album great? Nope. Did they produce a solid, second effort? Yep. Will you wanna pump your fist to it? Without a doubt.
Oh, and for that story from a show that describes the true essence of this band? I saw someone's hair accidentally go up in flames during their first song, the person put the fire out, and kept on singing.
Let's be honest for a moment. I would not be the person who would hear the new Gojira album is coming out and lose my mind. Turns out the guys in Papa Roach ARE those people - so when I was hanging out at the music video shoot for their upcoming video and they were talking about how much they can't wait for the new Gojira I became intrigued. I instantly sent a note to Monica, one of the coolest publicists on the planet who handles rediculously experimental bands as well as some huge name artists giving her an extremely awesome roster that I hope to present to you on a regular basis.
History aside, let me say that following artists you like and their influences and pleasure-listening is a great way to find new music. Jacoby and I have somewhat similar tastes, we both grew up on punk and metal, Mr. Bungle and Faith No More, and came of age sometime around the Rap Rock era. So when he was raving about Gojira, I knew it was something to follow.
The Way of All Flesh is a fairly extreme metal record - Gojira is considered one of the most extreme French bands. It is a record, however, that I can honestly recommend to anyone who likes their rock with a groove. Yes, you have to get over ominous and growling vocals, and a general lack of melody throughout, but hooks are abound in grooves and guitar lines. On my first full listen to the record, I put my earphones on and started playing Texas Hold 'Em on my iPhone - 45 minutes later I had experienced much of the album and never once been bored.
What keeps the record interesting and listenable, despite that it is generally VERY extreme, is that it is never over-the-top extreme. The screams are not full-on screams but more sinister drones. The lyrical content is thoughtful and thought provoking, decrying the human races unfortunate treatment of our home planet - The Way of All Flesh is to death, but this record is written in the sadness of death by our own hands rather than rejoicing in death as many metal bands choose to do.
Whenever I write a review, I like to ask myself, who is this record for? This record is for people who like fairly extreme metal and perhaps have a penchant for some industrial, but who want a break from senseless screaming and violence and would prefer to spend some time with some more thoughtful headbanging.
I Set My Friends on Fire is a two-man experimental punk and metal band that melds genres in ways that nobody would ever call seemless. I'm not saying that's bad at all. Actually it's quite entertaining.... but it's abrupt also.
If you ever asked yourself, what happens when a couple of punks with a sense of humor get together and start writing music that at once showcases and makes fun of every genre of music that is popular today - including Pop, Hip-Hop, Rock, Metal, Hardcore, Death metal, Grind-Core, Hardcore, Punk, and every other genre you can add a "Core" to the end of. The end result is You Can't Spell Slaughter Without Laughter.
What is impressive about this album is that there are actually some good songs and melodies.... but there are also sections where there are death metal screams over pop-hip-hop beats. It's odd, but it's odd on purpose.
The band became famous by doing a hardcore/emo-core/grind-core cover of the party hit of the summer, "Crank That (Soulja Boy)" which they dubbed "Crank That Cavalry Boy." The cover sounds something like the Beastie Boys with a case of terrible food poisoning - but it's quite entertaining and the fans responded very well. The subsequent hit, HxC 2-Step is pretty awesome. I have never heard anyone explain exactly how to hardcore dance before - California punks could use an education from this song.
As you can probably tell from the description above, this record is not for everyone at all. I recommend you stop by iTunes and download a song or two for 99 cents. If it strikes your fancy, test out another song. Eventually, you may find yourself with the whole record.
Or you may vomit after the first listen. I don't really think the band would mind that reaction either.
Everything's Better in Space: Listening to Innerpartysystem Innerpartysystem - Innerpartysystem In Stores September 30, 2008 By Jason Eskin
Nice, long title to start out this review - a real mouthful.
I'm going to be honest with you, the loyal reader. I'm going to be honest and say I was not a fan of Innerparty System before this review. I don't know any of their previous material. However, that doesn't seem to be too much of a problem because, according to Wikipedia, they only had one release before that and it was a self-recorded EP. So, I think my not knowing them before this release is irrelevant, so pipe it.
Anyway, you're reading this because you want to know what I thought of this album. Again, because you're such a loyal reader, I'm going to be honest with you: since last week, I've probably listened to this album about 10 times. Yep. 10. No lie. You know what happens each time? I start listening, start getting my schwerve on, then bam: I stop paying attention.
It's not that I don't like the album, it's that the appeal of Innerparty System comes from enjoying them in one of three conditions:
- Driving down the highway, in space - You're at an Innerparty System concert, in space - You're making love, IN SPACE
It comes from one of these three conditions (or a combination, OF ALL OF THEM), and not from listening to them at your desk, in an office- like I've been doing.
The singles off the album are good, "Heart of Fire" and "Don't Stop," they're good, I promise. But again, if you're at a desk, staring into a computer screen, you're probably going to stop paying attention. These aren't just techno beats without lyrics or diversity, they have both, and they exhibit them well. The songs on this debut are a little heavier than your average ambient techno music. It's actually on the heavier ones where you really hear the band come to life. The slow songs are perfect to put on while sleeping, in space.
So, what's the bottom line here, aside from this review being disjointed, awkward, and of very little help? The bottom line is this: the album itself is great background noise to a long night drive or something to got to sleep to. But, live, that's where I can really imagine this music coming to life. Don't be surprised if you see me at their next show, shaking my tight little ass during these hard, ambient beats.
Bleeding Through is the Rock fans' Metal-core band. They combine classic Death metal, orchestral Black metal and classic hardcore all in one sound. The result is not quite as niche as any of the three. They are a band for those who seek some heart and groove from their extreme metal bands.
For the most part, Bleeding Through avoids the "deeper-than-the-bassist" vocal growls of death metal, and the long cinematic orchestral meanderings of Black Metal (though they do dabble on Sister Charlatan). They also tastefully incorporate the "so-fast-it's-hardly-a-beat" drums of both genres. What sets Bleeding Through apart, is the incorporation of classic Hardcore Punk elements, ranging from their independent DIY style and ethics, to the crunchy guitar grooves and slow hardcore breakdowns at the bridge.
The resulting amalgamation of genres (I know, everyone brings together multiple genres these days), is one of the most accessible, yet still extreme metal albums of recent years. There is heart, there is groove, there is melody.
Now, I'm not claiming that, if you've never listened to Hardcore or metal you can jump straight from Mötley Crüe to Bleeding Through and just be converted instantly. But if you're looking for an interesting record to check out, and you've only dabbled in these genres before, maybe download a couple of songs and give it a shot. Recommended tracks are: "Reborn from Isolation" for an extreme, catchy groove, and the raging anger of "Seller's Market."
Take a listen and leave a comment to let us know what you think!
There is a youthful exuberance that springs from this record - despite mature songwriting and even more mature, often progressive arrangements, there remains a playfulness that evident from the first track (and especially on the first track). From the moment singer John Gourley intones "Lay me back down, in a bed with a whole lot of people..." and then leads into his schoolyard sing-song "Bop-badada" melody we get a vibe for the stylistic home of this album. As one listens on, however, it gets deeper.
The subsequent songs, after the playful "Lay Me Back Down," are a journey of different emotions about life and death, love and loss, and the usual singer-songwriter subjects. What makes Censored Colors a worth-while listen is the delivery of the subject matters.
Modern sonic references for Portugal. the Man include Cold War Kids, My Morning Jacket, The Shins and Spoon amongst others. These references only really hold due to a commonality of influences and a penchant for heavy reverb. Portugal. the Man draws clear inspiration from the usual rock influences - the Beatles to Zepplin. They are set apart, however, by the Gospel/Blues/Soul (and a touch of Reggae) infusion, largely delivered by a backing choirs, lush orchestration and John Gourley's cherubic voice. This sound is best illustrated on the album's 4th track "Salt" as Gourley croons over a choir "This can't be all that we have..." Portugal. the Man never really ROCKS hard, tending more towards a subdued sound that grooves occasionally.
Censored Colors hits the stores tomororw. The bottom line here - if you like modern indie rock, good songwriting, a little bit of soul and some interesting lyrics. Go pick up this record. Check out Portugal. the Man at Myspace by CLICKING HERE
I love to create impossibly anthropomorphic situations around bands: If Radiohead and Sigur Ros were to mate (don't ask me which is the female... I couldn't tell you), and their lovechild were raised on a commune populated by Tool, Mr. Bungle, Massive Attack, Beck, the Mars Volta and a Persian Spiritual leader - perhaps we would produce the Sound of Animals Fighting. Instead, this band comprises an amalgamation of such bands as the RX Bandits and Circa Survive amongst others.
The Ocean and the Sun is a sprawling, progressive album of seven minute songs and two minute interludes. There are spoken word sections, complex instrumental interludes and meaningful metaphoric meanderings - all of the things one would expect from a modern and youthful progressive rock project. What saves The Ocean and the Sun from crossing a line and being as pretentious as the first paragraph of this review is genuinely good songwriting.
Within the first minute of the second track (the first real song and title track of the record), there is an eirie, but instantly catchy melody. Upon continuing, one realizes that, through the instrumental acrobatics and complexities, there are genuinely good hooks here. These melodies and the pop sensibilities allow an emotional core to show that is often missed in progressive music.
The Sound of Animals Fighting, on paper, could very easily have been a group of young musicians attempting to stretch a little bit far beyond their musical means. Instead, we find a great melodic rock record with a little more focus on a journey and less focus on editing.
While it may not be music you want on in the background when you're trying to get laid (though occassionally it does work out that way), it is indeed a good idea to give it a listen.
And hey, you can listen to the whole record for free by CLICKING HERE!
1. This record (and this band in general) are the epitome of Rock. 2. This record (and this band in general) is not for everyone.
What My Ruin does so well, is bring together an amalgamation of Rock, Hardcore, Old-school Punk and Metal in a way that many have tried but not many have achieved with this level of skill. The riffs throw back to Black Sabbath, the drums call out a more modern rock/metal sound and the vocals that are more akin to Hardcore a la Rollins era Black Flag.
I met this band on Friday night at the record release party (video interview coming SOON) and rather than tell you all about what I think of this record, I recommend you check it out for yourself. If what I described to you sounds appealing - go in with a positive attitude and you won't be disappointed. If all that I described sounds horrible to you, go in with an open mind - take a listen and see if it's for you.
Xavier Rudd is quoted as saying "There's a lot of sunshine on this record." Dark Shades of Blue does not, for me, refer to blue music... but rather the shades at the depths of the ocean.
Xavier Rudd - activist, surfer and full-time self-proclaimed bare-footer - is an exceptionally creative and talented individual who delivers an impactful and spiritual but never stale or preachy performance throughout "Dark Shades of Blue." He deftly walks the lines of Folk, Rock and Reggae while incorporating elements of Dance and World music to more up-beat tracks.
To get a sense of what to expect from "Dark Shades of Blue" the best thing to do is take a walk down the strand in Venice, CA (or your equivalent surf town full of restaurants, music and street performers). Keep your ears open to the sounds of the world and you'll hear the influences of Xavier Rudd - people, living with the earth.
At times, this album does get a little repetative in sound as the songs jam-out a bit. For me, the absolute top stand-out tracks include the 6 minute Reggae jam "Secrets," the dancy rocker, "The World as We Know It" and the final folk anthem "Home."
Anti- records is one of my absolute favorite record labels. Under the Epitaph umbrella, they pride themselves on interesting, good music of many genres. While it may not be what we all think of as ROCK I will continue to bring you reviews from them as long as they're nice enough to send me more CDs to enjoy.
