Media Review

Armor For Sleep

Smile For Them (CD)

Warner
website | mySpace | pureVolume

Overall Rating:

7.0

Music Quality: 6.5

Production: 8.0

Originality: 7.0

If you ever have frequented this website, you’ll realize that without doubt, Armor For Sleep has and will always be one of my favorite bands. I’ve loved them since I first stumbled across the “Dream To Make-Believe” demos years ago, and have followed them intently ever since, seeing them several times over the years.

That being said, when it came time to review their new record, “Smile For Them,” the long-awaited Warner Bros. debut, it became increasingly difficult to be objective. I consider Ben to be a “good acquaintance” at worst, and a “random friend” at best, and seeing as how I’ve absolutely been enthralled with everything they’ve released (aside from one track, something having to do with the ground, hint-hint). So when the invevitable time came to review this record, it was hard to ignore all of the times their music has gotten me through bad times and driven the soundtrack to my high-school parking lot peel out sessions.

But, I will do my best to be as honest and genuine as possible.

A few months ago, the song “Williamsburg” was posted on myspace and I was a bit torn. I liked moments of the song, but the lyrics just turned me off—how could a band who sung about raining in heaven sing about doing drugs at New Jersey parties? I was confused, and knew the band could do better than that. Still, musically, the song was characteristically Armor For Sleep, with quick, technical, and spacey guitar riffs and memorable, catchy choruses. So I didn’t write them off quite yet.

Then, “Smile For The Camera,” the track opener was posted, and my ears perked up a bit more—it was a more complete, dynamic song, and (thankfully) had tolerable lyrics. I was still a bit confused, but persisted to have faith in them.

Some time later, the watermark of the record arrived in my mailbox and I found myself even more confused. As the CD kept moving on, I kept waiting for the spacey, atmospheric, dark stylings I had been used to with the band—and it wasn’t until “End Of The World” that I was left satisfied. Lyrically, the song was consistent with the rest of the record—rather weak—but musically it was undeniably one of the best songs the band had ever written. The record was clearly themed against the vanity-induced nature of Hollywood, as depicted by the strange cover art—“at least they’re doing another concept album,” I thought.

Wait a second, I missed a few songs. What about “Somebody Else’s Arms” with the whiny: “You’re gonna die in somebody else’s arms, and I have to live with that…” Wah wah, but musically, familiar. Or how about “Hold The Door,” with its synth-driven intro and delicate harmonies? Even more reminiscent of the band’s previous efforts, with drum-machine sequencing and dark atmospheres eventually leading into a simple chorus. A little better, but still won’t hold a candle to “Basement Ghost Singing” or “The End Of A Fraud.” And as for “Snow Globe,” well, let’s not even get into that yawner.

Maybe it’s not fair to compare all of the songs to their last album. After all, as Ben stated in an interview, they are clearly aiming for a different theme here—but why so straight forward? I think what made Armor For Sleep so enticing was the mystery. The ominous, vague lyrics meshed perfectly with the dark music.

But when the song called “Stars In Your Eyes” comes on, an old-school fan like myself can’t help but be distraught. “Nah, nah, nah, nah…” is surrounded by hand-clappable rhythms and a forgettable chorus, and while PJ’s guitar riffs are characteristically unconventional and tight, they just can’t save the message: “The stars in your eyes, they are burning you alive…I’m not gonna fall for something I made up, I was better off all alone in my own world…”

And after another boring ballad, at last, the band comes together in the last three tracks. “Chemicals,” the rhythmic, bouncy anthem, showcases the band’s innovative ability to contrast one moment of the song with another. And the lyrics? Finally, again, much more memorable and mysterious: “I’ll play dead, cause I’ll be playing dead with you…I’ll play you when you’re dead in a year or two..” And while the song goes with this whole anti-Hollywood theme, it’s much more creatively rendered, and doesn’t stray as far as many of the other songs do from the band’s recognizable, working formula. “My Saving Grace,” continues the streak, and while it’s another (the third) ballad on the record, the electronics, production, and bridge guitar riff (reminiscent of classic rock band Elliott’s musings), lead into a sweet-sounding chorus. Once again, PJ’s classic guitar riffs come across perfectly, and the lyrics are, well, soft and sweet.

And when the album comes to a close, you’re left a bit confused. “Stand In The Spotlight,” the lyrics are almost too sugary, but they sound thoughtful and are engaging. Once again, the band showcases their ability to write catchy, memorable choruses, and while the lyrics are a bit cheesy during the chorus, the verse’s appealing nature overcome them. And while it’s not the epic, loud closer we heard on “The End Of A Fraud” that left you feeling like you just got knocked out, it’s positive lyrics leave you with feeling content.


I was content in knowing the band refuses to do the same record twice, and am glad they got this one out of their system. And while I won’t be listening to this album too much longer, I haven’t lost faith that Ben Jorgensen and co. can write songs that are remarkably consistent, despite the clear stray from lyrical strength on this album. Let’s hope for a little more ambiguity and more clever theme on the next one, but I strongly recommend you at least check out this record.

reviewed by Andrew Martin