Comparable to Thursday, or a harder Saves the Day, Spitalfield uses soft drums with fluctuating guitar strums that tease your ears, and then pound them.
If Jason Falkner was a 20-year-old kid obsessed with ’60s pop, but couldn’t resist playing into the whole emo aesthetics, he’d be Dolour (aka Shane Tutmarc).
Stuck in that netherzone amidst Carnal Forge, Dew-Scented, and Darkane, Corporation 187 do nothing wrong, but neither do they offer dynamic personalities.
A dreamy, heartbroken, introspective album full of twangy tenor and jangly guitars, frank, wide-mouthed stuff like Tom Waits, Dylan, and Billy Bragg melded.
Perfect vocal pitch, extra energetic piano arpeggios, brilliant ad lib, and an Elton John cover. The classics are here, including material from the ‘Five era.
Harnessing punk anger and funneling it through a power pop structure, Armstrong have discovered a formula sought after yet not reached by Sponge and Everclear.
Early on, Boston-based Anchor Set had me interested in their brand of metal/punk rock music, but by the mid-point of their album, the band lost me entirely.