Media Review

Better Late than Never.

While this phrase seems obvious for my (lowly) anticipated top ten of 2007 list, this year in music was different. Allow me to elaborate: almost every record I waited for with deep, long, saturated anticipation for months and even years resulted in a sort of temporary satisfaction. Yes, I’m talking about you Armor For Sleep, and yes, I’m speaking to you, Say Anything.

Maybe my cynical outlook on life reflects on the deteriorating appreciation I’ve had for albums that let me down. At least in years past I’ve given them a fleeting shot. But it seems this year I found myself trying a little too hard—actually, way too hard—to allow the records that initially let me down to evolve into records I loved. My patience is wearing thin, I’m a hater, or maybe my taste has finally been corrupted by my swelling ego when it comes to music. Either way, believe me when I say I gave these records a shot: every one of them.

Anyways, by now you’ve probably clicked off; I know I don’t carry the most inviting attitude. Don’t get me wrong, I still love this music, and I have a lot of faith in the scene. One thing I can concretely swear is that I appreciate the innovation these several artists are bringing to the table.

This all goes with saying one more thing: those records that did find themselves falling into rotation were especially outstanding. I suppose a better way to say it is I was more surprised than anything this year, especially despite my expectations.

I’ll quit rambling. Here’s my list:

15 Best records of 2007:

Dear And The Headlights: Small Steps, Heavy Hooves:

To say that this album took me by surprise is an understatement. To say that the band was minutes away from self-releasing the record is a fallacy. To say that this was one of the most melancholy, emotional, and powerful records that touched me immensely is the dead truth.

Maritime: Heresy And The Hotel Choir

Their last album showed promise, and on Heresy And The Hotel Choir, Maritime confirmed that they’ve got the sound of indie-pop down to a T. Absolutely impeccable, memorable pop songs with enough irregularity to keep it consistently enjoyable.

Moving Mountains: Pneuma

It took me awhile, but Moving Mountains’ debut was a brilliant collective of vibrant, colorful instrumentals with reverby vocals. Easily the most organic, compelling release from a band you’ve never heard of. RIYL: Appleseed Cast, Explosions In The Sky.

The Panic Division: Songs From The Glasshouse

Other sites cast aside this release as cheesy and undeveloped. Once I was able to look past the clearly decreased energy from their debut, I realized this album shaped up to be a combination of stellar electronics and blasting guitars. It’s basically what I feel the future of music would sound like and where things are going—but there’s a lot of 80’s on this one. These guys are immensely talented and wonderful live. Let’s just hope the next one isn’t TOO 80’s.

Mouse Fire: Wooden Teeth

This small act took me completely by surprise. Lujo Records left a mark in my brain with their release of the somewhat interesting Look Mexico this year, but Mouse Fire takes the cake. Energetic, technical, and still catchy and memorable, what this band lacks in fancy production and back room polishing they make up for with indisputable talent. RIYL: Minus The Bear, Pinback, The Receiving End Of Sirens.

The Dear Hunter: Act II: The Meaning Of, And All Things Regarding Ms. Leading

Where Casey’s debut EP didn’t so much as shake a leaf from my tree, his debut LP ripped the roots from the ground. Stunning instrumentation, epic visuals, and a whole lot of music (74 minutes) all come together to create something that is consistently entertaining.

The Almost: Southern Weather

Aaron Gillespie clearly has a great ear for catchy melodies and simple but clever pop songs. Whoever said this is like Underoath without the screaming is pretty much spot-on, but don’t stop yourself there. Easily better than several other CD’s that came out in this arena, quite impressive especially for a “side project.” Plus it’s on the radio.

Jimmy Eat World: Chase This Light

Yep, they did it again—Jimmy’s latest is a polished array of pop magic yet again. While I longed a bit more for the direction the band was steering with songs like “Disintegration” and “Closer” on their previous EP, the hooks and energy on this record were just too much to ignore. Easily their best since “Futures”—get it? These guys don’t let down.

Interpol: Our Time To Admire
I’ve always been impressed with Interpol’s moody style, but on Our Love To Admire the songs are catchier than ever. These guys are one of the few bands who have received critical attention who just refuse to let down.

Poison The Well: Versions

The noisy, ethereal reach found on Poison The Well’s latest is as invigorating as it is reassuring. These guys were here before the army of copycats lined up at Hot Topic, and it shows through their use of slide guitars, eloquent dynamics, and rock I can only describe as impeccably construed walls of noise.

Steel Train: Trampoline

Their last one was a boring reach into forced territory, but it seems with the scene’s general disregard for their antics Steel Train have finally found what they’re looking for. Artsy and well-crafted, these tracks don’t just reveal their influences—but instead extend beyond them.

Pinback: Autumn Of the Seraphs

Rob Crow has a ton of projects that released albums this year (Other Men’s “Wake Up Swimming”, Rob Crow’s “I Hate Rob Crow”) but it seems with his main act they really made best. From the bouncy “Good To Sea” to the epic “Walters,” this record really doesn’t miss.

Matt Pond PA: Last Light

With every record Matt Pond and Co. release, I find myself a little more intrigued, and “Last Light” is no exception. While “Several Arrows Later” explored the bitter, “Last Light” shows indie-pop never sounded so sweet.

Hot Rod Circuit: The Underground Is A Dying Breed

The saddest news of the year in music was the break up of the long-lived Hot Rod Circuit. I think what made it the worst was knowing “The Underground Is A Dying Breed” was a hefty leap into familiar territory. After finally returning from their alt-country deviation, this record took the influences gained from the journey and put them on the hot seat. Beautiful instrumentation and innovation—but most of all, familiar energy made this record remind me why I started loving this music in the first place years ago.

The Bled: Silent Treatment

Okay, I’ll give it to the guys in The Bled, it’s hard to follow up the hardcore epic “Pass The Flask.” Maybe that’s why they missed the mark on their previous release. Still, I’ll give it to them again and thank them for confirming my belief that they can still make heavy, destructive records with epic breakdowns. They didn’t even let their singer’s newfound ‘singing voice’ get in the way. Beautiful.

Honorable mention (No particular order):

Pierce The Veil: A Flair For The Dramatic

Hugely technical rock with soaring vocals, the formerly known as “Before Today” band really hit the mark on their Equal Vision debut with this new moniker. RIYL: Circa Survive, Saosin, Versus The Mirror.

The Honorary Title: Scream And Light Up The Sky

The Cure meets U2 meets Coldplay? Kind of. Brilliantly catchy and inevitability memorable release from Doghouse indies.

The Heyday: The Heyday

I’ll be honest, my brother being the lead guitarist in this band helped me love this record so much. But, I have to honestly admit this record is easily one of the best produced records of the year by an unsigned artist—no wonder major local stations in the area are finally pumping these guys up. RIYL: The Format, Limbeck, Ben Folds.

Far-Less: A Toast To Bad Taste

Inventive prog-rockers Far-Less have finally released a consistently lovable debut. Organic and tight, this record carries a vast array of moody atmospherics. RIYL: Glassjaw, Classic Case, Dredg.

Fall Out Boy: Infinity On High

“Long live the car crash hearts” never sounded so catchy. Fall Out Boy might be self-deemed as poster boy sellouts, but to deny this record’s infectious appeal would be pure blasphemy. You know you love it, so just get over it.

Chiodos: Bone Palace Ballet

I heard a rumor these guys were doing it for the money, but this record is easily worlds apart from their rather confused debut. Sealed with radio-ready rock choruses, Chiodos still seem to maintain their throne as scene-core-scream-rockers. Not to mention singer Craig Owens’ range is unbelieveable.

Bright Eyes: Cassadaga

It was a predictable album—more country-esque poetry from infamous Oberst. And while it’s not nearly as wide in scope as his previous double album effort was, it’s more of the lovable sad songs we’d expect from the Omaha-ian. I think what eventually sold me was the clever music video for “Four Winds,” which takes place in a country bar. Maybe it’s almost too obvious, but the band gets booed off stage. Classic.

Anberlin: Cities

They look like they should be in Jet, but Anberlin finally hit the mark again with stellar, aggressive pop rock songs. Loud and not nearly as whiny as “Never Take Friendship Personal,” it’s no wonder this record received critical acclaim across the boards.

The Arcade Fire: Neon Bible

I think it was easy for me to expect The Arcade Fire to not make anything close to “Funeral,” but “Neon Bible” is characteristically independent from their previous efforts. Songs like “Keep The Car Running” and “No Cars Go” blast off with cinematic moods while “Neon Bible” and “(Antichrist Television Blues)” cast a hollow shadow. Diverse and creative, they may have even outdone themselves.

Kanye West: Graduation

It’s lacking the sub-thumping, ear-pinching production of his previous effort but Kanye’s style has never been better. Disco-techno-funk influenced tracks like “Good Life” and “Flashing Lights” instantly reminded me how much I love the positive beats and moods on Kanye’s records. No cap-blasting ghetto rap on this one; it’s an honest record. After all, with so much bling and recognition how can you have anything but a positive attitude?

Comeback Kid: Broadcasting

These guys don’t get as much recognition as I see fit. Pulsating with nonstop energy and fist-pumping choruses, “Broadcasting” picks up where they left off. More of the same consistency from their previous efforts, and just plain satisfying.

Darkest Hour: Deliver Us

With an array of new metal acts launching from their own label as well as others like it, it’s hard for people to remember Darkest Hour were doing it long before these guys could even buy cigarettes. “Deliver Us” might not release the band from the depths of under-appreciation, but it’s a damn good record nonetheless. Epic metal talent at its best.

Thrice: The Alchemy Index Vols. I and II (Fire & Water)

It’s hard to remember these guys released “The Illusion Of Safety” with their recent releases which always stretch the boundaries of innovation. Sure, “Fire” could’ve been a little more aggressive, but it was dark and smoky as hell. And while “Water” often drones on a little too long, it sounds like it was recorded in an oceanic abyss. So, while I might not listen to these records every day, to deny that Thrice accomplished the visual interpretations they were going for would be an untruth. Incredibly excited for their next couple of EP’s.

Senses Fail: Still Searching

So I’ve been following these guys since the beginning, but haven’t had much interest until I finally gave their latest a chance. “Still Searching” is heavy and quickly casts aside my fear that the band was heading to radio. The radio can’t handle this one. Side note: “Can’t Be Saved” is a lame song to play in Guitar Hero. Way too easy!

15 Most disappointing and the worst of 2007 (from least to most disappointing, approximately). I didn’t bother writing notes about some of them, mostly because I hate doing this:

Signal To Noise: Kodiak

I remember first hearing several songs before “Kodiak” was released, and was beyond excited. The songs were crunchy, dirty, and still infectious. And I still love those tracks—that were released on an iTunes EP called “Stop When The Rain Starts.” So imagine my disappointment when the LP’s best songs were the ones from the EP. Bummer, but I’m still holding out for these guys.

Mae: Singularity

Emanuel: Black Earth Tiger

Their last one was aggressive and angstful, and while “Black Earth Tiger” carries a very different set of influences, it just sounded messy and forgettable.

Crime In Stereo: Is Dead

Crime In Stereo are a band who played aggressive punk with catchy overtones, much in the vein of Rise Against. But on “Is Dead,” the band might as well be, with sleeper after sleeper.

Coheed And Cambria: No World For Tomorrow

These guys haven’t truly hit the mark since their sophomore effort, and “No World For Tomorrow” is no exception. This might as well be a b-sides record from their last one, and while a few songs (namely, “The Hound” and “Feathers”) were somewhat memorable, overall the album was wholly forgettable.

Avenged Sevenfold: Avenged Sevenfold

Whine much?

As Cities Burn: Come Now Sleep

Initially, I was excited to see these guys get back together, especially after witnessing their “last tour ever.” But on their latest, their title says it all; the songs lack the fluster and aggressive nature that got me into them in the first place.

Angels And Airwaves: I-Empire

Their last effort was relatively in the same vein as this one, but I think the strong hype and fresh appeal brought it to life for me. “I-Empire”’s tracks are as lame as the cover art and even title of the album; and while a few resonate positive, upbeat melodies and keep on track with gems from their previous, most of them are quite forgettable. I think Delonge’s lyrics are finally getting the best of me.

Days Away: Ear Candy For The Headphone Trippers

Their last LP was wholly undiscovered and unappreciated, and even made it onto my top 10 in its year of release. But this half-assed EP, while reminiscent of the band’s earlier days, really misses the point. Instead, it sounds rushed and unpolished, and where the band had demonstrated the perfect balance between delicate harmony and in-your-face chorusing on the latter, their latest was one I easily and quickly dismissed.

The Receiving End Of Sirens: The Earth Sings Mi Fa Mi

I don’t even think by the end of the year their previous “Between The Heart and Synapse” came out I even thought to mention it in my top 10. Still, looking back, I always will think of that record as one of the best of its kind. And after Casey left, I was definitely overcome with worry that they’d be able to overcome the loss. I guess in the end, saying “I told myself so” might be a bit trite, but this record just sounds lethargic and dull—and lacks the intense energy I loved on “Between The Heart.”


Boys Night Out: Boys Night Out

“Trainwreck” was anything but. It was artful and creative, and lyrically quite enthralling. Stylistically, the record was all over the place, but the overall darkness present throughout the songs maintained a moody consistence. Their latest is a punky mess of immature lyrics, and loud, sloppy guitars. Completely forgotten.

Minus The Bear: Planet Of Ice

It pains me at this point in the list, because the next 4 artists are debatably my most favorite four single artists in my iPod. But, I have to be honest, right? Well, I guess I choose to be honest.

Anyways, Minus The Bear had me bound and gagged on “Menos,” but on the Planet Of Ice it seems the planet is stretched a bit too thin. The songs drag on, and sure, it conveys a clear image of an icy, cold planet. Regardless, there’s a little too much drifty experimentation and not enough hooks for me to sink my teeth into.

Circa Survive: On Letting Go

It really pains me, especially owning 4 pieces of their merch and one of the limited pressings of the Juturna vinyl, to say that “On Letting Go” is one I truly have let go. Initially, it blew my mind and I felt the record was a collective of some of their most angular and distinctly unique potential. A few songs, definitely, are their shining best efforts. Notably, “The Difference Between…” and “Carry Me Away” don’t miss their mark. But overall the record, I’ve decided, is confused and off-course from the Dredg-style epics on “Juturna.” Namely, songs like “Mandala” and “Travel Hymn” are sloppy in comparison to sure-hits like “Act Appalled” or “Always Getting What You Want.” I think this band is still as amazing as the day I was in earshot of their first demos—but this record is just a little too all over the place for me.

Say Anything: In Defense Of The Genre

OK. I know. We featured Say Anything, and for the first two weeks I had the record I was absolutely in love with it. The songs were, initially, filled with the same angst and passion I had come to expect from Bemis. But, after a few more listens I found myself skipping more and more tracks—something I never did (or do) on “…Is A Real Boy.” I love the appeal and message Bemis is trying to get across on this new one, but just think the overwhelming amount of guest vocalists and songs altogether take away from the lackluster attack found on the short(er) span of his debut.

Armor For Sleep: Smile For Them

Finally, perhaps the worst thing I can do is say one of my favorite bands, Armor For Sleep, let me down more than ever. After the release of “What To Do When You Are Dead,” I looked forward to a more aggressive, cohesive band. The songs were louder, tighter, and unique—but didn’t stray too far from their original formula. On “Smile For Them,” the methods remain the same, and for the most part the music is essentially a better produced Armor For Sleep record. Songs like “Smile For The Camera” and “End Of The World” are easily in the best of their catalogue this far. But for the vast majority of the record, lyrically the band goes in a disappointing direction, with songs about partying and doing drugs. Obviously, this record was meant to be a little more to-the-point lyrically, but I think that’s the exact reason I don’t like it—I’ve never thought of AFS as a band who did that. And, maybe I’m being the devil’s advocate here, but it seems all too possible this move was steered in some slight way by their new big label in the driver seat. In the end, “Smile For Them” is entirely a record I didn’t expect from a band I’ve loved for so long. I hate to say it, but these guys by and large let me down. I’m hoping it’s a one-time fluke, and rest assured they’ll come back.

Most looking forward to in 2008:

Thrice: The Alchemy Index Vols. III and IV (Wind & Earth)
The Postal Service and/or Death Cab For Cutie
Nada Surf: Lucky (I’ve had the pleasure of listening to this one in its entirety already, it’s a true gem).
Able Baker Fox: Voices (Members of Small Brown Bike and Casket Lottery, quite an impressive album).
Underoath’s new LP.
The Helio Sequence.

reviewed by Andrew Martin