Review Roundup: Boris Smile, Everyone Everywhere, High Hopes, Joie De Vivre, Rintrah

Boris Smile – Rockets EP

Artists use lyrics in all sorts of ways; emotional release, fantastical journeys, blatant anger.  Boris Smile tell stories.  Cute, poppy little stories.  Perfect, considering their folky, multi-instrumental indie sound.

Although Rockets opens with “Satellites”, a rather noisy waste of time, “Adventures With Rockets” is a pop gem (“here we are in this rocket ship for two/the galaxy is away/and its me and you” – see what I mean?) complete with backing violins, complimenting the acoustic guitar that is the focal point of most of their music.  The dual vocals between A. Wesley Chung and Abigail Davidson only sweeten the band’s sound; think of the cutest – specifically, the cutest – boy/girl you’ve ever seen, and “Apollo” is the song you imagine singing with him/her.  The vocals are undoubtedly important (the “big things”, but the instruments (and there are too many to list) are what make Boris Smile truly special; all are used when necessary, toying with your emotions and fragility with their beauty – they are the “little things”.  ”Aurora” is no different, but “Are We Alone” is a little too minimalistic; the broad amount of instruments are barely touched, instead focusing on Chung’s vocals and guitar playing.  ”8.24.06 (The Humbling of a Planet)” feels a lot like a classical score for a play, weaving between moods, creating different scenes along its twelve-minute run time.

Rockets is a truly pleasant EP, making for a relatively short and endearing listen that will touch upon your sensitive side.  Recommended when you’re in a mellow mood.

(7.8/10)

Everyone Everywhere – Everyone Everywhere

Ever since emo indie rockers American Football hung it up after one amazing EP and one amazing full-length, there have been a number of bands who have attempted to replicate their sound.  It is hard to tell if all of the worship is entirely on purpose, or if there is just a desire for that sound.

No doubt is that an obvious prelude to Everyone Everywhere, who have an obvious affection for American Football, but also have a bit of a harder edge – for example, “Tiny Town” borders on metal at one point, between bouts of emo angst.  After opener “Tiny Planet” brings you in, “Raw Bar OBX 2002″ (“hey, I’ve got bigger fish to fry”), just begs to be loved; like all of the tracks, Brendan Graham‘s vocals convey everything perfectly, with a prime focus on the words, not melodies – yet, every song seems to be catchier than the last.  The lyrics themselves are simultaneously simple and clever; check “Music Work Paper Work” – “you’re just like tofu/you’re like everything around you” Graham quibs, before ending the song with “fiction/science fiction/biographies/autobiographies/music work/paper work/all kinds of movies”.  ”Blown Up Grown Up” is where the record touches upon adulthood; although an “indoor vacation” brings the catchy chorus together, “I kind of don’t care/I kind of don’t want to be there” is the central lyrical theme – something any adult (wow, I am essentially an adult now…weird) can attest to.

“Fld Ovr” is not only the longest track on the record, but the best; layers upon layers of instruments interact with phenomenally creative drumming and a harder-edged chorus.  Following it up is “I Feel Fine”, a number that – for the most part – seems to replicate that whole noisy pop punk thing going on right now.  ”Obama House, Fukui Prefecture” finishes the record off in style, providing a perfect bookend to a record full of emo-tinged indie gems.

(8.0/10)

High Hopes – At the End of the Day

I don’t know a whole lot about Sweden; I know that they produce good hockey players, good looking people, and have a gold and blue flag.  I am not very aware of their music scene, other than prog-metal giants Opeth.

High Hopes are a hardcore punk band.  From Sweden.  And they kind of rock.

At the End of the Day is five tracks long, clocking in around ten minutes, making it a concise listen for hardcore punk listeners (who all seem to have ADD).  Opener “Helping Hand” is a highlight; strong bass playing drives the song to its eventual conclusion – a smart and crushing breakdown.  ”First Day” is a one-minute fury,  ”A Chance” borders on melodic hardcore, and “No Heart” is a fun, gang-vocal filled ditty.  Now, I have never been a fan of gang vocals in hardcore generally, but High Hopes make them pretty fun.  The EP closes with the title track, a three-minute number that, while well-written, feels a bit long at the end.  Still, its emotional backdrop makes it a nice conclusion to the EP.

It seems good hardcore sounds the same in Sweden as it does in North America.  At the End of the Day gives me – ahem – high hopes for this band.

(7.5/10)

Joie De Vivre – The North End

I understand the appeal of Joie De Vivre, I really do.

That said, I also understand the appeal of being bored when trying to get through all of The North End.  Additionally, I understand that sad, quiet emo bands like to have that loud and distorted climax in their tracks.  But when song after song starts to have the same recipe (3/4 quiet emo verse/chorus/verse, 1/4 loud finish), it gets trying and monotonous.

I don’t know what else to say.  The North End is good for what it is, but I am just not a fan of what it is.  Maybe, like Boris Smile, you have to be in a specific mood to get the most out of this record.

(5.0/10)

Rintrah – Hold Dear the Ember

Rintrah sound like a blend of Kyuss and A Perfect Circle – according to guitarist and frontman Brett McKee.  Yes, those are some words to back up, but to be fair, I compare my own band’s sound to Converge and Trap Them.  They are just words, reference points.

In my words, I hear more of a Sword - a stoner rock band I hold close to my heart – vibe throughout most of Hold Dear the Ember.  Now, the music is more of an enigma, reaching full-blown stoner riots before breaking down into drum and bass focused sections, sounding akin to Tool (“The Nameless”) .  Regardless of what the music sounds like, McKee’s vocals always soar above everything else, his throat-driven groans forever begging the Sword comparison.  ”Siren Song” carries the stoner vibe, but also features full-out metal riffing, and a more vocally dynamic McKee.  ”Kallisti” opens like a death march, pulsating drums opening the song up like a tribal ritual.  It rotates between sludgy riffing, stoner riffs and intricate rhythms.  One thing holds the seven-minute track together – balls-out heaviness.  All of Hold Dear the Ember is heavy.  Really heavy.

The eleven-minute (!) closer “Of Fire and Light” plays almost like a prog-metal number; primarily instrumental, it begins as a (very) loud track, before breaking into bass-driven ambience, growing into a metallic progression, so on and so forth.

DO NOT LIFT.

(8.0/10)

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