Remember when...

Forgive Durden - "Razia's Shadow"
Release Date: October 28, 2008

Forgive Durden first appeared on the indie scene with their release of Wonderland back in 2006. The band felt great about the record and loved the music they created, but poor record sales and personal issues between band members were discouraging until three of the four members left in 2008. The only member who remained was vocalist Thomas Dutton, who, at the time, was writing a musical for the band's next album. Dutton felt defeated, but stuck with his ideas and began working with his brother on getting an album released. Together, they wrote and composed Razia's Shadow: A Musical. With no band and minimal experience with instruments, the pair opted to use software to create each track.


As far as vocals go, Thomas Dutton has one voice, and there are over a dozen characters in the story. Guest vocalists were essential to make something interesting. So he asked a few friends to lend their vocals for the album, and almost everyone that was asked accepted. Dutton really chose an amazing line-up from the Alternative/Pop/Rock music community. Some are on the album solely for their talent with singing - Lizzie Huffman, Max Bemis, Chris Conley, to name a few - but some were selected for simply being unique. Shawn Harris plays a demented, evil doctor, and while not vocally pleasing, the voice he creates really gives him a creepy personality. Aaron Weiss was not asked to do vocals, but instead plays the role of the narrator, boasting a really great storytelling voice. He's very sincere; each word is packed with strong emotions. Hearing a new voice on almost every track is refreshing and pleasant and helps break the monotony of a single vocalist.

The song composition is great and really helps set the focus on the vocalists, but nothing really stood out on the album. No two songs sound the same and I guess the uniqueness is something to appreciate, but I can't help but imagine how the record would've sounded with a few powerful guitars or something. I think that's the biggest problem with creating music through software. It takes much more effort to make something big when you're not playing the instruments yourself. Not bad enough to call it a disappointment, but there's definitely room for improvement if Dutton ever decides to create a sequel.
 
The storyline in Razia's Shadow is complex and somewhat confusing, but if you follow along with the CD booklet and listen to the entire record a few times, you should be able to pick it up. Initially we follow Ahrima (Dutton), an angel who's tired of being ignored for all the good deeds he does. He meets the love of his life, Nidria (Huffman), who comforts him and recognizes his genius. The love of Nidria is enough for Ahrima to forget his problems, until he meets an evil spider named Barayas (Bemis). Barayas tells Ahrima the only way for others to realize his potential is to burn down the city. By doing so he'll finally be recognized, even if he's seen as a villain instead of a hero.

Ahrima goes through with it and burns down everything they'd ever created. The townspeople are frightened and banish Ahrima to live on his own in the Darkness while the rest find a new place to live. Ahrima separates the world into two halves, the Light and the Dark, two sides destined to fight each other until an ancient prophecy is fulfilled. The story then skips forward 100 years to Ahrima's great-grandchildren. I've rambled, but it's really something you need to completely experience. It's not perfect and it won't make you a fan if you don't like Forgive Durden's sound, but for those who like the music, the storyline is an awesome addition that can really get you thinking and make you enjoy the album that much more.

It's not your ordinary album and it's understandable that most people probably won't get into it. The album is definitely best when listened to in one run, so if you find yourself on the fence, just try the whole thing. The genius is not in the strange idea or crazy melodies, but in the lyrics and lessons that Razia's Shadow will teach you.

Fresh Off the Grill


Yes, Say Anything's self-titled has leaked.  I have a lot of words for this album, but I'll save them for an actual review.  All I have to say now is I like it a lot, and you should definitely support this band.

The boy and the cycle

And on a peaceful spring morning
A boy skips home to find his parents
Waiting for him, he is ready
for his evening spent with them
To share the love that grows inside him

He thinks, "What a wondrous thing
a family is - even when pain,
even when hatred takes the reigns
like a knight in shining armor
love shines through and breaks the chains."

"What a lucky boy I am
I am the seed that has a chance
I will grow tall and strong and happy
I will be envied through the land."

And he was envied through the land. 

It was a humid summer morning
A boy walks home to find his parents
Working hard, he is ready
for his evening in their presence
Though they don't speak, he knows they care

He thinks, "What a complex thing
a family is - though sometimes hate
may cloud your mind, they wait
They let the storm pass and reunite
at the end of every rainbow."

"What an able boy I am
I am a seed like all the others
I may one day be colossal
and live happily with my kind."

And he lived happily with his kind.

It was a stormy autumn morning
A boy runs home to find his parents
Arguing, and he is ready
for another evening alone
To find excitement by himself

He thinks, "What a strange thing
a family is - while it may create
a firm foundation, you can't
ever build your life on it
for hate will tear it apart."

"What a lonely boy I am
I am a seed without a purpose
I may not ever even sprout
I will be mocked for who I am."

And he was mocked for who he was.

It was a bitter winter morning
A boy sulks home to find his home
empty, he is happy
For he can dream of fear
and lock his heart away

He thinks, "What a pointless thing
a family is - for love is simply
a mirage found in the desert
It does not create, it merely
harms those who might trust it."

"What an atrocious boy I am
I am the poison in the soil
If I must destroy all that is good
I will do it with a smile."

And he did it with a smile.

Remember when...


Jonny Craig- "A Dream Is A Question You Don't Know How To Answer"
Release Date: August 18, 2009

I'm going to begin by saying that I've got serious bro-love for Jonny Craig. I first heard of the guy when he began his run with post-hardcore/screamo band "Dance Gavin Dance" and have subsequently followed him to his new band "Emarosa". I appreciate the music of any band he's in just because I believe he has one of the greatest voices I've ever heard from anyone.


Needless to say, I've been waiting with great, great anticipation for this album since it was first announced months prior. Jonny stated he was recording a solo-album as a side-project with Rise Records as his label, but that's about all we heard until four weeks ago. He's shown his voice can be very versatile, doing guest vocals for an assortment of bands of many different colors and flavors. Fans of Emarosa and old Dance Gavin Dance alike were more than ready for a solo effort from Jonny.

The album is entitled A Dream Is A Question You Don't Know How To Answer. It contains ten tracks and has a run time of 33 minutes. Songs focus largely on Jonny's vocals and an acoustic guitar, though each song has a variety of instruments to keep the music interesting.

The disc starts with the song "So Many of Us Hide Our Black Hearts", an unfortunate negative for the tracks yet to come. The sound is rough, Jonny's vocals are off, and it comes off as unfitting for a Jonny Craig track. This poor start is identically recreated with another "filler" song on track eight, which runs two minutes and just doesn't seem like something Jonny Craig would do.

Suffer past the minute-long intro track to hear "Istillfeelher Part III", a song that shows Jonny's true style. Jonny's smooth vocals are combined with an equally soothing melody, accentuating Jonny's powerful voice and telling a story of an old lover or dear one. The ride doesn't stop with the next track, "What I Would Give To Be An Australian", and continues all the way to track five, "7 AM, 2 Bottles, and the Wrong Road". Jonny doesn't throw any curveballs with these songs: admittedly, some tracks sound similar, but there's plenty of differences from track to track to keep you interested and excited for many playthroughs.

Track six is where I was blown away. "The Garbage Pail Kid Gang Bang", as strange and disturbing of a title as it is, is an excellent track. Jonny's vocals are catchy and slick, the guitar is funky, and Jonny repeats "Before you open your mouth, let me make it clear: I can't be brought down while I stand so high...where's the lesson in this?". It's an amazingly constructed song, and one that's going to be put on repeat for some time to come.

Track seven and nine are much like two through five: great music, though nothing that'll give a blind man sight. The album closes with the song "Children of Divorce", one of the greatest pieces I've ever had the pleasure to listen to. Jonny is much more serious and distraught, and the song seems like something he really feels emotionally attached to. It's a song of a couple who became a pair too fast, only to realize they didn't really love eachother after they create a child. Jonny sings, "Sadly enough, this song's not to hurt you, just to show the world that I'm free." It's beautiful, and the song alone is completely worth the $12.00 pricetag.

Remember when...

Jason Mraz - "We Sing.  We Dance.  We Steal Things."
Release Date: May 13, 2008

The funny thing about music these days is that it seems one hit single is all that's needed to launch a successful career in the industry. Any well-known artist will make a million dollars off of a track with their name on it, and because of this I find I'm extremely critical of any song I hear ten times in one hour on the radio. When I first heard Jason Mraz' single "I'm Yours" I liked it, but I ignored his album because I felt it would be the only song worth listening to. It's a trick I've seen all too much with modern music: release one song the public will love, sell millions of mediocre CDs for twelve bucks each.


Jason Mraz classifies himself as an MC, mainly for his ability to spit out tongue-twisting lyrics rapid fire. It's one of his claims to fame, and it's very prevalent on his 2001 album Waiting For My Rocket To Come. I really don't care for it. It's unique but lacks any positive musical quality and I'd always find myself skipping tracks where the focus is set on his word flow. When the time came to take a listen to We Sing. We Dance. We Steal Things. I was very unenthusiastic.

My initial negativity may have something to do with it, but I was blown away by the album. What I expected was overdone love ballads with terrible lyrics and Mraz' "boop-boppidy-boop" beat boxing solos. While we still need to put up with the beeps and the boppidies, the album focuses on lively melodies, strong vocals, positive messages, and a style I've seen come from nobody but Mraz himself.

The album begins with "Make It Mine", an extremely funky track that really sets things off right. You'll hear a soft guitar playing in the background, but instrumentally the focus is on a few trumpets present at different parts of the track. Mraz doesn't do anything major lyrically or vocally in the verses and bridges of the song, but redeems himself in the chorus, when he sings "I don't want to wake before the dream is over...I'll make it all mine." This lyric prepares the listener for the rest of the album, which for the most part stays extremely positive.

The album rolls on with "I'm Yours", the track that's likely responsible for most of the record's sales. It's a slow love song, and Mraz accentuates his boopidy-boppidies multiple times (this time with a doodja-doo-doodja spin), but it's not bad. The beat is smooth and each verse flows pretty nicely. Besides, it could be worse: what if it was a love song featuring a female vocalist with a groany voice and sappy "other people don't understand" lyrics? What if it was like the next track, "Lucky"?

The song has absolutely no progression and shows that Mraz still isn't perfect. In fact, he uses the exact same formula in the songs "If It Kills Me" and "A Beautiful Mess". The song "The Dynamo Of Volition" shows he's still wants to show the world he likes to rap, but unfortunately it adds another song to my "skip" list.

Thankfully, these are the only negatives on the album. Mraz boasts his great song writing in songs like "Love for a Child" and "Live High". Lyrics like, "When you're young, it's okay to be easily ignored...I'd like to believe it was all about love for a child," remind me that he can still write a great song. Even songs like "Coyotes" and "Butterfly", which don't have any lyrics that really stand out, feature that Mraz-style funk that make the songs exciting and enjoyable.

The song that stands out most to me after multiple listens is "Details In The Fabric" featuring James Morrison. It's the slowest song on the album, but amazingly positive and very high-quality musically. Mraz and Morrison both sing, "Hold your own, know your name, and go your own way...if your shocked it's just the fault of faulty manufacturing."

We Sing. We Dance. We Steal Things. is a great record. It's a bit disappointing that I was only able to enjoy eight of the twelve tracks, but eight tracks is enough to justify twelve dollars. Mraz shows that he can pull off anything from funky/smooth trumpet rock to slow acoustics with powerful lyrics, and the variety of the album is something not seen in most records today.

Moving over posts

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Hey guys!  Just posting to say that I may periodically move some of my reviews over here from The Escapist - a gaming website  that also focuses largely on writing reviews.  If you see my reviews from there on here or vice-versa, don't be alarmed!

Now this is the Say Anything I know

Say Anything posted the album version for their song "Eloise" on their MySpace yesterday.  While it's not very impressive lyrically, the sound seems to be the matured offspring of ...Is a Real Boy and earlier material.  This is the third studio track we've heard, along with a few live performances on YouTube: "Hate Everyone", "Eloise", "Mara and Me", "Crush'd", "Cemetery",  "Property", and "Ahh...Men".  While I wasn't extremely impressed with "Hate Everyone" or "Property", the transition from the acoustic version of "Eloise" to the fully produced version made a huge difference and it's really got me psyched for the full release.  Get excited, guys!

Listen to "Eloise": http://www.myspace.com/sayanything

Also, in a bit of unrelated news, I'm going to try and get some reviews up here this weekend - I'll definitely do one today, hopefully more tomorrow and Sunday.