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Snow Patrol – Final Straw

Final Straw is moody, stunning, and a complete, unexpected triumph for a band relatively unknown in the States.



I have this theory that a song can only be considered good if it has one of several defining things; a sharp change in melody, quirky vocals, a quick contrast to the standard tune, or just a funny, out of place guitar riff. Any of these things would be that song’s defining moment. Now for an album to be good it must have at least three songs that are completely made up of these aforementioned points. So when listening to a CD, I am very careful to listen out for these things. Snow Patrol’s Final Straw contains many of these quirks. Released last year in Europe, Final Straw has finally made its way to North America; bringing with it a unique take on a familiar sound. Gary Lightbody’s vocals, matched with the band’s melodic music bring the realm of alternative rock its newest heroes.

On the track “Chocolate,” there lays a consistent drum beat and bass line through the entire song, but the magic of the track rests within the vocal arrangement. It starts out as unassuming as a song can be, with a light back bone and simple guitar structures – until one bang of the drums sets off a wondrous trail of splendid pop rock sounds. Lightbody’s voice is present as this constant soothing hum while the rhythm section swirls wildly over his voice and a distant harmony. As the chorus kicks in, it is guaranteed to rouse a warm fuzzy feeling in the pit of the listener’s stomach. This song’s defining moment comes in its words; “What have I done? It’s too late for that / what have I become? / Truth is nothing yet.” They are sung in such an earnest, truthful way that it is almost impossible to not love this tune merely for these lyrics alone.

While most of the quirks on this CD are to be found lying somewhere in the music or the lyrics, track nine is the difference. In “Ways and Means,” it lies in a pause – coming in after a few notes on the piano with strong percussion work and squealing guitars. Throughout the song there is a sharp contrast between the low, consistent grumble of the lead vocals and the clear falsetto backing vocals. The music goes on to become a quick barrage of howling guitars over crisp instrumental backing, but even with that sharp contrast and the strong music, this song would be nothing more than an average track without that pause. It happens sporadically within each verse, an unexpected yet short pause. This gap gives the song its edge by bringing a sense of unpredictability to a track that needed something foreign. It’s unexpected, it’s out of place, and it’s completely beautiful.

In all honesty, I expected this CD to be another band desperately trying to be the next Radiohead or Coldplay. It didn’t help that they were being marketed as what I had expected, but I was surprised by how this band manages to take common sounds and twist it into something that is entertainingly different and wonderful. Final Straw is moody, stunning, and a complete, unexpected triumph for a band relatively unknown in the States.

(Polydor / A&M Records)

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Pretty Vicious – Beauty of Youth

Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype



Pretty Vicious

The perils of industry hype and stardom have been unforgiving for many young bands. The brutal nature of the rock n’ roll whirlwind is both an inescapable thrill, and the overdose that has claimed the scalp of many. Welsh rock band Pretty Vicious are no stranger to the often destructive nature of record label glory and lofty expectations. The band members were mere teens (15-17) when they signed their mega-deal with Virgin EMI in 2015. What followed was a roller coaster ride of failed recording sessions and the burden of unmet expectations that come with signing big-money deals at such a young age. But the remarkable truth is, Pretty Vicious seem to have come out of the industry slog having survived their initial foray into the fire with an album that is quite a remarkable achievement.

Initially touted as the “next Oasis”, Pretty Vicious have thankfully shunned that tag and done away with writing the next Definitely Maybe for something more visceral. Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype. If Beauty Of Youth is a record signaling Pretty Vicious’ convalescence after their initial break down, then please, feed this medicine to all the bands.

There is no Oasis, but rather the furious, feverish unpredictability of rock music that we had seen with early Biffy Clyro, early Idlewild, packed with the dangerous uncertainty that came with The Libertines. It’s immediate too; from the raucous riff-heavy opener “These Four Walls” to the vagabond “What Could’ve Been”, much of the album channels frenzied palettes of distortion and beautiful noise. “Force of Nature” is a little Josh Homme, while “Someone Just Like You” is what Dave Grohl sounds like when he’s trying, but the album’s best moment is perhaps the gorgeous, slow-burning “Playing With Guns”. A song that’s composed of great wistful melodies that slowly incinerate the ears with infectious songwriting that makes Beauty Of Youth sound massive while being personal at the same time.

You can’t go past songs like “Move”, with its buzzsaw guitars and wall of energy, without thinking of all the best rock bands we’ve heard over the past decade. It’s got it all- to a T- but its urgency and hectic nature make it feel all the better. “Something Worthwhile” has got the bright lights and big stages of Glastonbury written all over it. And while their 2015 stint at the festival saw them on the “Introducing…” stage, this song is headlining main stage material.

It is quite an achievement to be as accomplished as Pretty Vicious at such a young age. Even more remarkable that they’ve survived the industry machine to release such a damn good debut album. Beauty of Youth is a composed, compelling, high energy debut that answers the question, “what became of the likely lads?”. They went on to write one of, if not the best, rock records of 2019.

(Big Machine / John Varvatos Records)

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Sum 41 – Order In Decline

Long gone are the days of All Killer, No Filler



Canadian pop-punkers Sum 41 have been remarkably consistent over the course of their last few albums. And while we have never stopped calling Sum 41 a pop-punk band, their last few albums have been less about being fun and bouncy, opting instead for a far more serious flavor of rock music. Long gone are the days of All Killer, No Filler, replaced instead with songs that do their best to mimic Muse’s big stadium anthem feel while not forgetting their penchant for metal licks and hefty solos. Truth is, it’s quite a shame because when Sum 41 were more about being fun and silly, their songs had this incredible likeability to them. Forget All Killer, No Filler, they were at their most fun with their often silly 2000 debut Half Hour of Power.

So what to expect with Order In Decline, their 7th full length? Well, if you like easy-to-digest pop-punk anthems, you best look elsewhere as much of the album spends way too much time taking itself too seriously. Not that the results are bad; songs like “A Death in The Family” and “Out For Blood” do the faux-hardcore/melodic punk thing really well. The chugga chugga riffs, toe-tapping melodies, and Deryck Whibley’s snotty vocals continue the band’s well-refined sound. Opener “Turning Away” doesn’t shy from being a little metal, a little rock, a little punk, and sets the high energy tone for the album. The return of Dave Brownsound for 2016’s 13 Voices has solidified the album’s two-pronged guitar attack, and Order In Decline’s production helps on that front- it’s a loud album, it just doesn’t seem to say a whole lot at times. “45 (A Matter of Time)” is the band’s anti-Trump song, and while it tries to provoke, sounds loud, its cheesy protests of “You’re something to few / But nothing to me / Someone so twisted and sick as can be / It wasn’t the plan / We gave it a shot / You’ve proven a real man is something you’re not” won’t exactly inspire a raging fire within the listener. I suppose if you’re turning to Sum 41 to change the course of the future, we’re all in trouble.

Sum 41 love their ballads too- and Order In Decline’s lighter in the air moment (phones in the air for you kids) is the piano-strewn ballad “Never There”. It’s OK, but doesn’t quite reach the heights of effective balladry they showed with “With Me”. The album’s best moment is the blitzing “The People Vs…” which trades the stadium rock for more melodic hardcore/thrash that a little akin to some of the goofy stuff they did on Half Hour. The meaty riffs, a great solo and the soaring chorus pumps much needed old Sum into Order In Decline, and it’s only a shame there isn’t more of it on the record.

As the album closes with the radio-ready “Catching Fire”, listeners are left with one of these two thoughts. For those who enjoy Sum 41 when they’re trying to be the best big band they can be, there is plenty to like on Order in Decline. They’ve found a consistent, polished, and well-produced sound they first hinted on with 2002’s Does This Look Infected?. For those who found their juvenile, snotty attitude on Half Hour of Power and All Killer to be the quality they most enjoyed will respond to Order in Decline with indifference. At least I don’t hate it.

(Hopeless Records)

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