KATZ CRADLE
Reviews By Andrew Katz
 LEAGUE
- Golden Maps EP (http://leaguesound.bandcamp.com)
It’s as if Passion Pit and Crystal Castles had a kid—a
musically inclined child with ingenuity, originality, and
most importantly—relativity. League, a duo consisting
of former journalism and architect majors based out of Los
Angeles and London, have the utmost potential to relate avant-garde
indie-pop to a multitude of audiences. Their sound is addictive,
catchy, fun, and easy to get into—even if you are not
a fan of this type of genre.
The opening track on their self released EP, Golden Maps,
sparked my interest immediately. “Golden Maps”
is a fast paced, heavy snare inducing track capturing the
band’s unique sound. As you turn your bass up to +6
on your car stereo, be prepared to smacked with some groovy
bass and sharp catchy beats. Between the danceable opening
riff and the “1980sish” vocal melodies, “Golden
Maps” gets the job done.
The second track, “Take My Hand,” brings something
new to the listener, even if it is only the second track.
It’s a bit more concentrated and has a more concise
and logical flow. The listener can predict the next part of
the song. However, this is what makes “Take My Hand”
a standout track. The chorus far outshines the rest of the
track. I found myself anxiously listening through the verses
to get to the chorus. However, the verses are not dissatisfactory;
they are just transcended by the choruses.
I was quite fond of the third track, “A-61.” It
really reminds me of Crystal Castle’s “Empathy.”
It’s a bit slower but packs an emotional and introspective
punch and gradually builds up into an epic, chaotic array
of sounds and vocal arrangements.
While there are eight tracks in total on the Golden Maps EP,
I as always feel it is best to not give away the entire album
and let the listener find out for his or herself. Overall,
this EP is fun, easy to delve into, and is sure to be a crowd
pleaser during your next long drive, small party, or just
while completing your homework an hour before your next class.
In this new genre of “psychedelic pop-indie,”
League has found a way to avoid all the clichés and
pitfalls of a generic and lackluster pop-indie outfit.
 The
Class of 98 - Touch This and Die! (http://www.myspace.com/theclassof98)
Old School Power-Pop at its Finest
Touch This and Die! the debut album of little-known
band The Class of 98, is a burst of fun complete with hooky
choruses, clever lyrics, and an ambiance that tears at one’s
heartstrings. I recently stumbled across this record about
a year ago (it came out in 2006) and I just had to write a
review. It is a fantastic record that reminds me of past relationships,
old friends, and antiquated shenanigans that still refuse
to die.
“Bass Guitar” is by far, the best track on the
record. While light and airy on the surface, it is conversely
deep and complex at its core. With lyrics such as: “I
have to go away to find where I belong,” the listener
will instantly become attached, only to be seen listening
to the song in their car, at the gym, or be spotted at a bar
singing the lyrics in an overcrowded room with people wondering
why you’ve had three Long Island iced teas and still
haven’t got kicked out yet (and no, this didn’t
happen to me).
If you are looking for more of an introspective track, try
"Christy’s Wedding.” While it is definitely
slow-moving, it doesn’t trudge along. It is consistently
affectionate throughout, comprising of a steady drum pattern
and memorable vocal arrangements that soar and cut through
the song. The chorus is absolutely the most memorable portion
of the song, further showcasing the tender and warm qualities
that this band has to offer. Between the stellar combination
of acoustic and electric guitars backing sensitive lyrics
and soft spoken vocals, “Christy’s Wedding”
should have been named make-out song of the year in 2006.
“Everywhere You Go” is the short, quirky opener
of the album. The track is only one minute and fifty-two seconds,
but don’t let that discourage you from keeping it on
your next iTunes playlist. While it may be the shortest track
on Touch This and Die!, it couldn’t be any more noteworthy.
Complete with choppy guitar riffs, awesome backing vocal constructs,
and fun, sing-along lyrics that are perfect for any time of
year, especially summer.
Now, I know that this album is quite old (five years, for
those of you who don’t know how to do math), but have
an open mind and embrace the sweet and savory genre of power-pop,
because The Class of 98 will soon have you singing their lyrics
everywhere you go (even if it is in a bar).
 The
Class of 98 - Heaven ( (myspace.com/theclassof98)
The Sequel is Always Better
In 2006, The Class of 98 released Touch this and Die!
It was a great album, but just like any successful band,
you need a great follow up. In this review, I will explain
why their latest album, Heaven, displays the best of what
a great band has to offer: maturity and growth. However,
I find it senseless to compare each album song by song,
as it would be repetitive and unnecessary.
Instead, I find it fascinating to see that even after five
years of not producing a full-length record; this unknown
band has managed to make power-pop my new favorite genre
to indulge in.
There is absolutely nothing wrong with being sincere and
honest. In fact, these two personality traits are not utilized
enough nowadays. Everything in life is relative, especially
when it comes to music and expressing one’s emotions.
On their latest effort, Heaven, The Class of 98 have no
problem speaking their minds and creating power-pop that
is capable of embracing a new generation of fans. Heaven
is candid and cordial, complex and deep, open and inviting,
and overall, brings the listener a warm collection of songs
that are nostalgic of the highs and lows of life.
For one, the opening track, “Heaven,” is nothing
short of imaginary and creative songwriting. From the opening
verse through the first chorus, the song is a hasty whirlwind
of emotions, complete with the rise and fall of tension
building, animated drumming, coarse and driving guitar,
and painfully authentic lyrics that dig deep down into the
foundation of this well crafted album. As soon as the last
second of the song ticks by, the listener won’t be
afraid to delight themselves to the rest of what Heaven
has to offer.
The next track, “Chemical,” is super catchy
with the increased use of synthesizers that make this track
fun as hell to listen to. “Hell,” the sixth
song on Heaven, is not as strong as some of the other tracks,
but still has its shining moments. One of my favorite tracks,
“X,” is a more straight forward pop-punk song,
complete with fun, distorted guitar, punk-rock drumming,
and groomed and clever lyrics.
The last track, “Nothing Going On” (on the bonus
track version of Heaven), is a superlative ballad. It further
showcases the versatility of this band and gets down to
the nitty-gritty of power-pop.
Heaven is a giant leap forward from an album that was already
stellar in itself. The Class of 98 has defied the odds.
They have managed to write a sophomore album that was better
than their first endeavor, recorded over five years prior.
The lyrics are deeper, the guitar work is edgier, and the
vocal melodies make Heaven the perfect sequel.
Now, it is all up to you, the listener. Get your hands on
both of these albums and witness for yourself the growth
and maturity of a “pop” band. You won’t
regret it.
 Man
Overboard—The Human Highlight Reel (http://defendpoppunk.com)
Defending the Genre of Pop-Punk
New Jersey, a state with a reputation for America’s
ripest tomatoes, fist-pumping guidos, immaculate beach bodies,
the best Sicilian pizza, and unbeknownst to some—the
home of pop-punk’s newest sensation, Man Overboard.
I’ll admit it, I really believe that these guys are
at the forefront of the scene, and it’s due to some
of the fantastic records they’ve made in the past.
Pop-punk was once a dying genre, but when albums such as
Real Talk and The Noise Upstairs hit the
airwaves, pop-punk was revived, but more importantly—it
was refreshed.
I have been listening to this genre ever since my ears
made love to albums such as Enema of the State
and Nothing Gold Can Stay by pop-punk legends Blink-182
and New Found Glory, respectively. While New Found Glory,
MxPx, Blink-182, Saves the Day, Midtown, The Early November,
and Sum-41 were taking over the scene years ago, pop-punk
has definitely changed, and it seems like New Jersey is
at the center of this change.
In the last few years, the Jersey pop-punk movement has
begun to flourish and blossom. The “New Jersey Pop-punk
movement” or “NJPP,” is being led by a
band that’s defending pop-punk and exposing the scene
to a larger audience that’s ready to put their emotions
on the table and find the courage to tell their exes to
fuck off. Man Overboard has been around since 2008, producing
albums with enough raw energy to wield the mighty hammer
of Thor, and enough emotion to inspire someone to write
the sequel to Forrest Gump.
Man Overboard consists of Nik Bruzzese on vocals and bass,
Zac Eiesenstein on vocals and guitar, Justin Collier on
guitar, Wayne Wildrick on guitar, and Mike Hrycenko on drums.
Their latest effort, The Human Highlight Reel is
yet another fabulous addition to their previous endeavors.
Many of the songs on this album are B-sides to earlier records,
re-mastered songs from acoustic to electric and vice-versa,
two new songs, and a cover of The Promise Ring’s “Red
Paint.”
It would be argued here that The Human Highlight Reel
is Man Overboard’s first “greatest hits”
record, comprising the band’s best tracks (although,
I wish they put “Montrose” on the album) with
the addition of a few new songs. I was so delighted to hear
songs like “Love Your Friends Die Laughing”
and “I Saw Behemoth and It Ruled” electrified
and exerting an energy that gave me goose pimples. But even
more sensational was hearing their two new songs, “Driveway”
and “Melanie, Video Games, And A Slight Fear Of Flying.”
“Driveway” is one hell of a fucking track, and
quite possibly one of the best pop-punk songs I’ve
ever heard. As soon as the song begins, it’s bursting
at the seams with a catchiness that only a band like Man
Overboard could actualize. Once the song reaches about a
minute and twelve seconds, the track reaches its climax;
creating a haze of addictive guitar work fronting crashing
cymbals and a snare drum that’s palpitating like the
heart of a young twenty-year old virgin on the verge of
having sex with a hooker in Atlantic City.
“Melanie, Video Games, And A Slight Fear Of Flying”
is more of a straightforward punk song with fun lyrics and
fast paced vocal and guitar work. The most interesting part
of the song can be found towards the end, when a guitar
solo is introduced in addition to emotionally driven vocal
chants.
The cover of the “Red Paint” is a true testament
to one of the greatest emo/pop-punk bands of all time: The
Promise Ring. It is so awesome to see bands today paying
tribute to the legends that came before them, and Man Overboard
did it with such pizzazz and affection.
If allowed, I would like to give this compilation record
a rating. And although I have never given a record a formal
rating in the past, I believe that this album deserves an
exception. The Human Highlight Reel is a 9.5 out
of 10. There is only one record that I believe deserves
a 10, but that is a topic for another time (or another review).
The Human Highlight Reel is a collection of songs that I
hold dear to my heart. Every song reminds me about different
parts of my life, each containing different themes and meanings.
Although many of these songs can be found on other works
produced by Man Overboard, The Human Highlight Reel
organizes the best of what the band has to offer.
I would recommend this record to anyone with an interest
in music, enough said.
 THE
YOUTH AHEAD —For the Ones that Got Away (www.theyouthahead.com)
Reissue
Bland, Dull...Chicken Fingers
For the Ones that Got Away reminds me of myself in
sixth grade—short, fat, greasy hair and some would even
argue that I could have been on the cover for Acne Magazine.
However, before you say: “wow, is that what the album
sounds like?” hear me out, For the Ones that Got Away
is more like the kid found in the back of the classroom who
wears the same jeans everyday in addition to beat up Converse
sneakers, plain solid t-shirts, and uniformly colored braces—just
the average “Joe Shmoe.”
Pop-punk is always a genre that will have a special place
in my heart—it’s fast, fun, and most importantly—it
relates to me. Bands like Blink-182 and Sum-41 have always
sung about issues pertaining to adolescence and growing older.
Nevertheless, I am now much older, wiser (well at least I’d
like to think so), and I can actually formulate an opinion
and argue it with substantial evidence (again, I’d like
to think so). With that being said, every pop-punk record
needs to have a definitive hook. The listener should want
to have it erupting out of their car stereo on a warm Sunday
afternoon towards the end of April. Regrettably, For the Ones
that Got Away just isn’t that kind of record. It’s
ordinary, comparable to a 22nd birthday celebrated at Applebee’s—it’s
not bad, but it lacks flavor and you are in and out in less
than 45 minutes.
Like the chicken fingers found at Applebee’s, the lyrics
are dull, and childlike. They lack maturity and sense of growth.
I am very hard-pressed to find a group of intelligent nineteen
year-olds who are interested in a song about acting apologetic
for just being yourself, the theme found in the track “Sorry…I
Guess.” Unless they want to have swarms of fifteen year
olds bum rushing the stage at their shows, a seasoned listener
of pop-punk might not be impressed.
The track “Victory for a Smile” starts off acoustically,
right after the weird, unnecessary ocean-like soundscape that
can be heard at the beginning of the song. The track then
comes to life once the distortion is turned on, thus allowing
the listener to breathe a sigh of relief knowing that they
purchased a generic, mediocre punk record (however, it was
free at Hot Topic, which is actually a considerably excellent
deal). The track certainly has a definitive chorus that’s
quite uplifting and optimistic. But the verses lack spunk
and ingenuity, containing boring, overused chord progressions
that lack an authoritative hook.
Every track on the album is virtually the same: intro, verse,
pre-chorus, chorus, verse, pre-chorus, chorus, bridge, outro
(or basically, an extended chorus). Where is the spice? Where
is the risk, the emotion, the “damn, that was an awesome
record, I think I’ll listen to that again”? For
the Ones that Got Away just didn’t do it for me, and
I am an avid listener of this type of music. Unlike the chicken
fingers at Applebee’s, sometimes it is better to go
the extra mile and actually put a little “umpf”
into something that has been done numerous times before.
HEROES - Untitled EP (http://heroes.bandcamp.com/)
Bringing the Noise
In life, we all must face our own respective trials and tribulations,
especially when it comes to school, work, family, etc. And
I’ll be honest, growing up nowadays is pretty damn challenging.
Sometimes at the end of a long, lonely, miserable week, we
just need a place to vent. So instead of running over to the
nearest Buy-Rite and wasting your money on overpriced beer,
you should turn on your computer, sign on to your Facebook,
and tune into hardcore’s newest sensation - Heroes.
Hailing from New York City, this punk-rock/hardcore quintet
is giving new meaning to melodic hardcore by providing barbarous
vocals, indefatigable drum patterns, enthralling guitar hooks,
and hasty bass riffs. Heroes - consisting of Nick Vitale on
vocals, Rick Abolt on guitar, Chris Benne on guitar, Nick
Colella on bass, and Paul Pipitone on drums - have just recently
released two songs off their upcoming debut EP that is yet
to be given an official title.
The first track, “Frequency” is a docile yet haunting
instrumental that escorts the listener into the untitled EP’s
second track known as “Crossing Over.” This song
really brings out the best in this young New York band. The
track begins with great intensity, as the distinguishable
riff of the song leads the charge with an untamed vocal yell
that brings the song to another level. As the song progresses,
the drums increase speed, guiding the song into a new direction
that is reminiscent of bands such as Haste the Day, Killswitch
Engage, and The Devil Wears Prada. Once the listener arrives
at the chorus, that addictive riff found the beginning of
the song appears again, but this time it is accompanied by
vocals and a change in rhythm that makes you want to get up
and two-step. As the songs proceeds towards its outro, a fearless
breakdown grabs the listener by the ears and keeps them moshing
until the song concludes.
While these two songs were just a sneak peak, they hold promise
and prestige. In the months that follow, be sure to keep an
eye out for these guys because they might be rolling in to
your town next with their fists held high in the air, ready
to bring the noise.
 IAN
AXEL – This Is The New Year (tinyOGRE Entertainment)
(www.ianaxel.com)
Praiseworthy Pop
Okay, I’ll fully admit it; normally I am not a fan of
pop music. In fact, I purposely go out of my way to avoid
listening to it. However, Ian Axel’s This Is The
New Year has gotten me hooked. It’s a surprisingly
fantastic pop album with not-so-surprising pop elements. Every
song radiates with splendid, catchy piano combined with soaring
vocals and passionate lyrics about life, lust, and loss. If
Mr. Axel managed to find a way into my pop music loathing
heart, then without a doubt, he will surely do the same for
you.
There is absolutely nothing wrong with wearing your heart
on your sleeve, it symbolizes maturity and growth. Even more
impressive is having the balls to write an album about it.
While many songs found on This Is The New Year will
remind you of a resplendent summer day walking along the grassy
knolls of Central Park, others resonate with deep emotion
about adolescence and growing older. An example of this cogitating
emotion can be found on the track “Gone.” The
pivotal anchors of the song are the concerned, affectionate
lyrics that complement Axel’s sympathetic vocals about
a kinder, gentler pseudonym for suicide, or being “gone”
from the world.
While songs like “Gone,” “We Are,”
and “Say Something” are heavy emotional hitters,
This Is The New Year still brings a warm embrace that can
soften even the coldest of hearts. Songs such as “Leave
Me Alone!” and “Girl I Got a Thing,” are
just plain fun to listen to, as they bring out the dormant,
undiscovered pop star residing within Mr. Axel.
I predict that This Is The New Year is Ian Axel’s
first step towards a bright and prosperous career. With indulgent
piano hooks and upbeat, lighthearted vocal harmonies, This
Is The New Year is the perfect album to brighten up even
the rainiest of days.
 Eleven
Dollar Life - Shatter the Silence (EDL Publications / www.elevendollarlife.com)
Background Noise
If you are looking for some down-home , good old fashioned
rock n' roll, then pucker up those ears, because Eleven Dollar
Life's, Shatter the Silence will have you singing along to
funky licks and psychedelic keyboard. This Chicago five piece,
consisting of Bryan Pray on vocals, Chad Wynes on guitar,
Marc Gee on keys, Chris Karcher on bass, and Kyle Voivodas
on drums, bring about sounds that are somewhat influenced
by the Red Hot Chili Peppers, The Doors, and Incubus. And
while Shatter the Silence may come off as a bit cliché,
it is nonetheless a decent listen. But for those of you who
are searching for something a little more anomalous, well
keep digging, because Shatter the Silence is best listened
to during a humdrum high school graduation party.
What can I say, there is nothing wrong with appealing to the
masses--it is a lucrative business. Shatter the Silence can,
and will appeal to anyone who likes the universally safe,
commonplace, party rock music that brims over the awkward
conversations of young freshman boys trying to get laid. This
full length, however, does have some bright spots that kept
my interest. Bryan Pray's vocals are quite fun to listen to.
The third track, "Suitcase," is his best vocal effort.
Along with poppy, catchy keyboard harmonies, and a repetitive,
fetching guitar hook, Pray displays some really cool vocal
constructs quite similar to Incubus front man, Brandon Boyd.
My favorite track found on this hackneyed full length is "Zee."
This song has an easygoing vibe with a smooth flow. In addition,
it has a nice groove and a sweet guitar solo towards the end
that give the song a much needed spice not really found on
the rest of the album.
However, with the exception of a few standout tracks found
on Shatter the Silence, Eleven Dollar Life is just a banal
rock quintet. With less than impressive, conventional, standard
rock drumming, drab bass fills, and undiversified lyrics,
Shatter the Silence lacks variation and excitement. While
Eleven Dollar Life might have the potential to give you your
money's worth, they certainly won't have you running in the
streets begging for an autograph.
My advice: save yourself the listen and put on some Red Hot
Chili Peppers instead.
 Botanical
Bullets — We Bleed Fluorescent EP (myspace.com/botanicalbullets)
A Spice of Originality
Imagine yourself standing before a world — untouched,
concealed within an existence apprenticed to the forlorn,
destitute feelings of predictability. Throughout my twenty-one
years, I have listened to a vast array of music, and I can
honestly say that We Bleed Fluorescent is a welcomed relief,
a breath of fresh air, a shot of vodka after a hard day’s
work—an overall much needed originality that defies
today’s drab, cliché music scene.
Botanical Bullets—a duo consisting of members, Jay
Shah (keyboard, effects, drum machine, guitar, vocals) and
Jacob Conover (vocals, keyboard, guitar), are native to
the Garden State, experimenting with some righteous material
and creating a sound that is all their own. Combining fusions
of hip-hop, soul, rock, doo-wop, electronica, and a splash
of dub-step—I am hard-pressed to label them just as
“alternative,” or “experimental.”
What’s great about this EP is its mass appeal. While
it may not appear in the regular rotation at Z100, it surely
has the potential to be on your next iPod playlist—blaring
out of your car speakers and disturbing every suburban housewife
trying to prepare Sunday supper. Within the first few seconds
of their cozy opening track, “Fantastic Romantic,”
one cannot help but “bob” their head to the
affectionate layers of keyboard and uncluttered, repetitive,
mechanized drum patterns. Jay and Jacob’s soft but
demanding vocals keep the track flowing, keeping the listener
exploring for the next bar of the song. Although a bit muddled
at times, their ability to complement each other’s
voices is quite impressive. When the listener finally arrives
at the chorus, an extra layer is put forth, giving the song
an added texture to break up the repetitiveness of the drum
beat. As the song continues onward, the outro takes on the
role of permanently extending the chorus, but with additional
vocals, which display a sense of longing and strife that
encapsulate the song’s message.
The title track, “We Bleed Fluorescent,” is
the catchiest track on the EP, delivering heavy, heavy bass
along with a tightly jazz infused drum pattern that augment
a bizarre keyboard melody and promiscuous vocals. The climax
of the song consists of an epic battle of contrasting keyboard
riffs, boarding on the verge of dub-step. Throughout the
last half of the song, these two riffs constantly quarrel
to be the center of attention, only adding substance to
the track. While this may sound a bit contradicting, the
only complaint I have is the disappearance of vocals. It
is only at the very end when a haunting voice joins the
rest of the instrumentation.
The third track, “Little Miss Shotgun,” is unlike
any other song on the EP. As one of the shorter tracks on
the EP, “Little Miss Shotgun” is heavily influenced
by doo-wop, and carries a similar element that would make
it suitable to appear during the ending credits of A Bronx
Tale. This track could almost be described as a new age
doo-wop masterpiece, comfortably embracing a genre that
time has forgotten, while playing in the background of a
low-key NYU party overrun with hipsters. As with the rest
of the album, there is a lack of differentiation in regards
to the drum beat, but why overcomplicate things? This is
a simple song—and if it ain’t broke, don’t
fix it. This is by far my favorite vocal track. Just when
you thought doo-wop was strictly reserved for the baby-boomer
generation—think again, Botanical Bullets has brought
it to life with a new modern feel.
The champion track, “You Times Two” is the most
diverse. This song brings with it, exotic vocals, pungent
with an Indian influence. As the seconds tick by, a deep
and energetic bass follows along with a modest drum pattern.
Next, a super addictive keyboard pattern gives the song
its distinguished hook. As the sound of a turntable hums
in the background, a surprise element of hip-hop is introduced,
further giving this track its diversity. As the middle of
the song comes to a close, those exotic Indian-style vocals
take over. The outro of the song is very pumping as new
effects enter the mix with echoing vocal chants. I would
definitely recommend listening to this song more than once
to really appreciate all of the elements. Although We Bleed
Fluorescent in only comprised on five tracks, this one really
did it for me.
The final song of the EP, “Epinephrine,” is
by far the most introspective. This track is incredibly
atmospheric, brining sounds previously unheard in throughout
the rest of the EP. While “Epinephrine” is not
my go to track, it is nonetheless very moody and should
be reserved for an early morning drive. As far as a closing
track is concerned, it fits the role very well, wrapping
up the duo’s creativity and quest to try something
new and atypical. It further carries on the sombre ambiance
of the EP, continuing the trends of a heavy bass combined
with cool effects. As the song reaches its conclusion, the
drums speed up in tempo—but by that time, you are
already entranced into the song. This track definitely made
me sink deeper into my sheets as I started to drift into
a world far beyond my college dorm room.
Overall, We Bleed Fluorescent is a solid listen that consistent
throughout. There are a few pleasant curveballs that give
the EP a smooth edge leaving the listener satisfied throughout.
I highly recommend this EP to anyone that’s looking
for something new and exciting to kick off summer with.
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