Wednesday, April 29, 2009
86
85

6/2 Omaha, NE @ Sokol Underground
6/3 Des Moines, IA @ The House of Bricks
6/4 St. Paul, MN @ Station 4
6/5 Milwaukee, WI @ The Rave
6/6 Evansville, IN @ Boney Junes
6/7 Chicago, IL @ Reggie's Rock Club
6/8 Cleveland, OH @ Peabody's
6/9 Pittsburgh, PA @ Diesel
6/10 Buffalo, NY @ Xtreme Wheelz
6/11 Worcester, MA @ The Palladium
6/12 Philadelphia, PA @ Theatre of Living Arts
6/13 New York, NY @ Highline Ballroom 6/14 South Hackensack, NJ @ School of Rock 6/15 Vineland, NJ @ Hangar 84
6/16 Virginia Beach, VA @ Club Relevant
6/17 Washington DC @ The Rock and Roll Hotel Washington
6/19 Richmond, VA @ The Canal Club
6/20 Raleigh, NC @ The Brewery
6/23 Atlanta, GA @ Masquerade
6/26 Fort Lauderdale, FL @ Culture Room
6/27 St. Petersburg, FL @ The State Theatre
6/28 Tallahassee, FL @ Big Daddy's
6/30 Mobile, AL @ Alabama Music Box
7/1 Nashville, TN @ Rocket Town
7/2 Memphis, TN @ New Daisy Theatre
84
Signing 5.2
12:30pm Shwayze
1:15pm Never Shout Never
2pm We The Kings
2:45pm Cartel
3:30pm Forever The Sickest Kids
4:15pm Sonny
5pm Asher Roth
5:45pm Young Love
6:30pm Parkway Drive
7:15pm Hey Monday
Signing 5.3
12:30pm Haste The Day
1:15pm Valencia
2pm The Ataris
2:45pm Hollywood Undead
3:30pm Honor Society
4:15pm Push Play
5pm The Acacia Strain
5:45pm Family Force 5
6:30pm White Tie Affair
7:15pm Blessthefall
83
SATURDAY MAY 2ND WONKA STAGE SUNDAY MAY 3RD WONKA STAGE12:10 - 12:40 HONOR SOCIETY 1:10 - 1:40 FAMILY FORCE 5 2:10 - 2:40 BILLY TALENT 3:10 - 3:40 THE MAINE 4:10 - 4:40 SILVERSTEIN 5:15 - 5:45 HOLLYWOOD UNDEAD 6:15 - 6:50 THE USED 7:30 - 8:15 RISE AGAINST 9:00 - 10:15 NO DOUBT IMAGINATION STAGE 11:45 - 12:10 WICKER HOLLOW 12:40 - 1:10 THE ATARIS 1:40 - 2:10 TINTED WINDOWS 2:40 - 3:10 THE SOUNDS 3:40 - 4:10 3OH!3 4:40 - 5:15 SUM 41 5:45 - 6:15 DEMI LOVATO 6:50 - 7:30 FACE TO FACE 8:15 - 9:00 TAKING BACK SUNDAY STATE FARM STAGE 11:40 - 12:05 HART ATTACK 12:35 - 1:05 THE SCANDALS 1:35 - 2:05 DEAD MEN DREAMING 2:35 - 3:05 AMERICAN TAXI 3:35 - 4:05 CLOSURE IN MOSCOW 4:35 - 5:05 BEFORE THEIR EYES 5:35 - 6:05 GWEN STACY 6:35 - 7:05 BAND OF 2010 7:35 - 8:05 ENTER SHIKARI 8:35 - 9:05 BROKENCYDE 9:35 - 10:05 DRIVE A MLB AUTHENTIC COLLECTION STAGE 12:05 - 12:35 REIGN SUPREME 1:05 - 1:35 OUTBREAK 2:05 - 2:35 THE MONGOLOIDS 3:05 - 3:35 THIS IS HELL 4:05 - 4:35 HASTE THE DAY 5:05 - 5:35 BLESS THE FALL 6:05 - 6:35 THE ACACIA STRAIN 7:05 - 7:35 VISION OF DISORDER 8:05 - 8:35 SUICIDE SILENCE 9:05 - 9:35 MOTIONLESS IN WHITE ZUMIEZ STAGE 11:35 - 12:00 RED LIGHT GREEN LIGHT 12:10 - 12:35 FOR THE FOXES 12:50 - 1:15 OUTERNATIONAL 1:25 - 1:55 SINGLE FILE 2:10 - 2:40 THE WHITE TIE AFFAIR 2:55 - 3:25 HIT THE LIGHTS 3:40 - 4:10 SCOTTY DON'T 4:25 - 4:55 OWL CITY 5:10 - 5:40 PUSH PLAY 5:55 - 6:25 EVERY AVENUE 6:40 - 7:10 VALENCIA 7:25 - 7:55 THIS PROVIDENCE 8:10 - 8:40 CAN YOU KEEP A SECRET 8:50 - 9:20 REVERSE ORDER KAZOOZLE STAGE 11:50 - 12:20 THEE ARMADA 12:30 - 1:00 THE FOLLOWING 1:10 - 1:35 ROTTEN COTTON & THE FRONT BOTTOMS 1:50 - 2:20 THE URGENCY 2:35 - 3:05 RUNNER RUNNER 3:20 - 3:50 ULTRAVIOLET SOUND 4:25 - 4:55 A ROCKET TO THE MOON 5:10 - 5:40 MERCY MERCEDES 6:20 - 6:50 ROOKIE OF THE YEAR 7:10 - 7:40 CARE BEARS ON FIRE 7:50 - 8:20 INEPT KAZOOZLE TENT 12:20 - 12:30 TALES BY THE RIPPER 1:00 - 1:10 POETRY READINGS BY GREGORY 1:35 - 1:50 DJ PRIME 2:20 - 2:35 DJ PRIME 3:05 - 3:20 DJ PRIME 3:50 - 4:25 BO BURNHAM 4:55 - 5:10 JOE DEROSA 5:40 - 6:20 ZACH GALIFIANAKIS 6:50 - 7:10 YAK BALLS 7:40 - 7:50 ROEBUS ONE 8:20 - 9:20 US AIR GUITAR THE AQUARIAN / BREAK STAGE 11:40 - 12:10 GABRIEL THE MARINE 12:40 - 1:10 TINA PAROL 1:40 - 2:10 TIFFANY GIARDINA 2:40 - 3:10 JERSEY KIDZ 3:40 - 4:10 THE LOVE WILLOWS 4:40 - 5:10 ALL THE DAY HOLIDAY 5:40 - 6:10 NOW NOW EVERY CHILDREN 6:40 - 7:10 THE CALL OUT 7:40 - 8:10 WE ARE THE OCEAN 8:40 - 9:10 REALITY ADDICTION PASSION BRAND CLOTHING STAGE 12:10 - 12:40 SWIMMING WITH DOLPHINS 1:10 - 1:40 INWARD EYE 2:10 - 2:40 MY FAVORITE HIGHWAY 3:10 - 3:40 THE HOT AND HEAVY 4:10 - 4:40 VERSAEMERGE 5:10 - 5:40 LIGHTS RESOLVE 6:10 - 6:40 THE BRIDE WORE BLACK 7:10 - 7:40 THERE FOR TOMORROW 8:10 - 8:40 LOCKSLEY 9:10 - 9:40 A NEWBORN THRILLER |
Thursday, April 23, 2009
81
http://glamourkillsclothing.fancorps.com/
catch me at http://glamourkillsclothing.fancorps.com/goshdarnfashionista
80
Release Date: May 5, 2009
Record Label: Solid State
The Chariot never claimed they were going to reinvent the wheel. In fact, the Josh Scogin-led project has just always wanted to play chaotic music that consistently bashes your skull in. And all their releases have done just that. So you shouldn’t be expecting anything different from the band’s third full length, Wars and Rumors of Wars. Really, why would you want them to be any different?Wars and Rumors of Wars is a roided up version of 2007’s The Fiancee. A lot of Wars flows in the same vein as its predecessor, but it features better structure, more complexities, and improved instrumentation. The band doesn’t sound like a bunch of cavemen on their instruments anymore. Wars is also beefed up by Scogin’s always reliable maniacal growl. First blood is drawn on “Teach:,” as guitar chords rise and fall while Scogin reveals, “Victory is such a lonely word!” The first track sets the example that Wars won’t sound like one long song.
The Chariot cooks up a little punk riot with “Need:,” while the weight of “Impress.” will straight up crush you. “Never I” bounces between sped-up chords and drums and pulverizing breakdowns, including one of the heaviest outros the band has ever done. “Giveth” sludges along with Scogin screaming his guts out, and “Daggers” provides some fire (“War is only skin deep!”). The transition from a lonely guitar strum into huge theatrics is a Chariot-staple, and it doesn’t disappoint here. Closer “Mrs. Montgomery Alabama” begins with a campy piano chord and breaks into menacing guitar parts from Bryan Taylor and Dan Vokey. Scogin spits another one-liner (“Love is easier made than kept.”) that will be a popular Facebook status in a few weeks. This track features a few different tempos and fades out with some guitar feedback and sporadic drum beats.
Wars and Rumors of Wars is the essential Chariot album as it doesn’t sound like 100% noise all the time. The improved musicianship is a huge plus, as it gives a lot of these tracks a sense of direction and purpose. While their debut album will still hold the number one spot in some fans hearts (due to nostalgic reasons), Wars is the finest Chariot album to date. There are a few snags, such as the bland “Evolve:.” Also, the fact that this album doesn’t reach any new heights for the band can be seen as a negative, but it’s an enjoyable negative. This War isn’t going to set the metalcore world on fire, but it’s chaotic, unpredictable, and overall a blast to listen to.
Monday, April 20, 2009
77
The Secret Handshake, "My Name Up In Lights"
Who?
Luis Dubuc, the one man electro-tinged act alternatively known as The Secret Handshake, is back with his second full-length for Triple Crown.
How Is It?
For me, My Name Up in Lights seems like a make-or-break album for The Secret Handshake. His debut, One Full Year, was nothing Earth-shattering, but nonetheless contained moments that even someone like myself, with tastes more rooted in '90s indie-rock than anything else, found charming. There's no doubt that it exuded a bit of immaturity, but offered some reasons for optimism, with tracks like the slow-burning "Midnight Movie," on which the often-reviled vocoder effects added a sinewy texture to Dubuc's vocal, and ironically, seemed to inject more emotion into the song than his voice alone would have done. In short, that album exhibited that all-important potential, but left plenty of room for growth.
For those with similar thoughts on the debut, who thought that My Name Up in Lights might actually be a solid electro-pop offering, I'm sorry to say that it's not that at all. There are, indeed, songs that aren't bad on their own, but as a whole, the album has some major flaws that run through it, pretty much ruining its enjoyability. For one, the vocal performances leave a lot to be desired and are occasionally cringe-worthy. It's not the Auto-tune-- as I stated before, this has been a positive factor in some of his songs before-- but the fact he sounds unpolished and ill at ease behind the microphone. Frankly, Dubuc has a stiff vocal quality and uses awkward enunciations and accentuations, similar to what hinders singers like Shaant Hacikyan, Seth Trotter (The Higher) and Andrew de Torres (Danger Radio), and it's something that the Auto-tune simply can't hide. If the tweener girl demographic is what you're aiming for, this appears to be the way to go, but while they shake their asses, the rest of us are just going to shake our heads.
Secondly, Dubuc seems to have regressed as a lyricist, focusing more on schoolboy crush songs than on anything with real substance. Since the guy is happily in a relationship now, it's understandable that these songs would lean toward the happier side, but they're also sophomoric, such that anyone past, say, tenth grade would find them cheesy at best. Just a note to those young guys hearing stuff like "Little Song" ("I wanna write the soundtrack to your life and live it with you"), and "Saturday" ("You thought we were just friends, but all this time, I had plans to make you more, maybe be my girlfriend"): acting this bubbly around girls is not smooth and will not get you laid. You'll just look like a loser.
On a positive note, Dubuc does a solid job of writing catchy pop melodies, and on the whole, they sound pretty good musically. Case in point are the two strongest songs on the album, "What's Wrong" and "Hey Girl," which surprisingly were not among the songs exposed to the masses prior to the release, as they would seem to be the most marketable. The former is a mid-80's-styled pop number that generally avoids the missteps found on the rest of the album, while the latter is equally catchy, but is also indicative of the fact that Dubuc showed up for class during Pop Music Cliches 101 ("I don't want to be your lover, if you don't want to be my friend"), though admittedly, it sounds like something that would be covered on American Idol, a compliment I guess, considering the style of music.
Tuesday, April 14, 2009
73
72

-If you're coming to a show and you happen to have one of these tattoos, let me know ahead of time. We will find a tattoo shop to meet up at near the venue, and i'll get myself a tattoo of your full name.
-If you can't ever make it to a show, then email me and i will do my best to facilitate you getting to a show. If that doesnt work, we will go from there.
This is a neat idea in my opinion and i am excited about it. Some people might think i'm crazy. As a matter of fact, i'm sure our manager and booking agent will call me when they read this. I know of a few of you out there. Let's do this.
-Ben
Sunday, April 12, 2009
70
69
4/15 Corbin, KY @ Corbin Technology Center
4/16 Nashville, TN @ The Muse
4/18 New Orleans, LA @ The High Ground
4/20 Tallahassee, FL @ Big Daddy's
4/21 Gainesville, FL @ 1982
4/22 Tampa, FL @ Transitions
4/23 Miami, FL @ Goo
4/25 Cocoa Beach, FL @ Bun Java Coffee
4/26 Orlando, FL @ Black Box Collective
4/27 Jacksonville, FL @ The Pit
4/28 Marietta, GA @ Swayze's
4/29 Spartanburg, SC @ Ground Zero
4/30 Augusta, GA @ Sector 7G
5/1 Wilmington, NC @ Soapbox Laundrolounge
5/2 Virginia Beach, VA @ Attitudz
5/3 Harrisonburg, VA @ The Artful Dodger
5/4 Richmond, VA @ The Czar
5/5 Baltimore, MD @ Charm City Arts Space
5/6 Philadelphia, PA @ The Fire
5/7 Asbury Park, NJ @ Asbury Lanes
5/9 Allston, MA @ ICC (AL4W Record Release)
5/10 Holyoke, MA @ Waterfront Tavern
5/11 New London, CT @ El-N-Gee
5/12 Freehold, NJ @ Freehold VFW
5/13 Lemoyne, PA @ Championship
5/14 Peekskill, NY @ Popeye's Pub
5/15 Bronx, NY @ Bronx Underground
5/17 Auburn, NY @ Auburn Public Theater
5/18 Buffalo, NY @ Mohawk Place
68
Sunday, April 5, 2009
62
In addition to plenty of praise, many people criticize August Burns Red by saying that all of their songs sound the same. Lost Messengers: The Outtakes, an aptly-titled EP consisting of songs recording during the recording session for their previous album, 2007's Messengers, proves that the band doesn't just write one type of song. The album's artwork keeps with the same theme as Messengers; the candle's flame that once shone brightly is now a wisp of smoke. A nice touch is the liner notes, which are handwritten by the band members and provide interesting insight about the tracks.
The EP begins with two B-sides. "Chasing the Dragon," a song about a heroin addict, gets things started. The track is a bit more metal than hardcore, with a brief guitar solo in place of the usual breakdown. It's a good song, but I understand that it may have interrupted the flow of the album. "Moseley" (which was previously only available as a vinyl bonus track) is next. It's a heartfelt song about the death of a close friend taken at the age of 18. There's not much of a breakdown, but it's more like the August Burns Red that we know and love and undeniably the best track on the release.
Following the B-sides are three fun but unnecessary songs. "Carol of the Bells" is the band's instrumental version of the Christmas favorite (which appeared in the trailer for Frank Miller's The Spirit). The song sounds great; it remains true to the original while cranking up the heaviness, including an obligatory breakdown. "To Those About to Rock" is a one minute joke song spoofing southern rock-influenced metal that's currently all the rage, complete with swaggering vocals. "Piano Man" is a cover of the Billy Joel classic. It's just piano backed by bass and drums, which sounds nice. With no vocals and only a portion of the song, however, it will leave you wondering why it was included.
Rounding out the release are demo versions of "Truth of a Liar" and "Vital Signs." Rather than carbon copies of the versions that appear on Messengers, these demos have some noticeable differences. The former's vocal pattern was altered, while the latter was restructured.
Lost Messengers: The Outtakes may not gain any fans (though it's hard not to enjoy "Carol of the Bells"), but it's a nice way to tide followers over until the band releases their third full-length. The only problem is that the lasting value suffers after the B-sides are done. Those first two tracks are good, but the others are songs you'll likely only listen to a couple times before being bored with them. Still, the EP further proof that August Burns Red is one of the top bands in metalcore today, showing that even their B-sides are album-worthy.







