Dominic Balli’s “American Dream” 2011

Written by Rawkzilla’s: David Hitchcock

Talk about mastering crossing genres,  “American Dream” is a very well put together collaboration of reggae, hip hop, rock and pop.   Kicking off the record is self titled  “American Dream”  (featuring Sonny of P.O.D.) a cool, catchy, effects driven grove writing a story about loosing yourself chasing what the world classifies as the “American Dream.”

Immediately following is a modernized traditional Reggae “skank”-(off beat rhythmic style) titled “We Won’t Stop.”  Anyone chasing hope and in need of some light in a dark place can surely relate to this song.

“Twenty Seventeen” (track eight) left me wanting to rewrite the songs progression.  There’s an amazing dramatic synth build with drums in the background that gets progressively louder and louder until your captivated in this huge epic intro that makes you feel like your in a fighter jet blasting the enemy out of the sky….until verse 1 starts. This is the kind song that confuses me, amazing intro, bridge and choruses but boring puny verses.  Its one of those moments where you ask yourself, ”do I have time to put my clothes in the wash before the chorus comes back on?”  (example: channel surfing during commercials)  I listened to this song over and over again just for the intro and chorus!

Lyrically, Dominic is crazy talented and paints a visual masterpiece with his personal life experiences.  Musically, there were a few things I would change as far as progression and song structure.  All in all this is a great album with a concrete solid message of hope and love.  To accompany this message Dominic brings you an awesome variety of musical genres!

I give “American Dream” 4 out of 5 stars

Tack-listing:

01 American Dream (feat. Sonny Sandoval of P.O.D.) 3:49

02 We Won’t Stop 3:50

03 Louder 3:11

04 Take My Love     2:43

05 See What We Become 3:16

06 Again and Again 3:47

07 Favela (feat. Nengo Vieira) 4:59

08 Twenty Seventeen 4:12

09 All We Need is Love 2:56

10 Refuge   3:30

11 You Are There (feat. Jenkins)    3:43

12 Daisy’s Song 4:18

Yours Truly from Paradise Fears is a bold, unabashedly heartfelt debut record that proves a lot for the artists without trying to prove a thing.

Review by Jay Escobar-Haskins

The opening track wastes no time mining familiar territory and showing that Paradise Fears is a comfortable jumping right into the catchy pop punk that has made teenage girls swoon and teenage boys over gel their hair for the last ten years. Then, like a force of nature comes the rest of this genuinely amazing debut LP. I have to say that the first 20 seconds of “Violet” is in the same league as Kanye West’s “All of the Lights (Intro)” as one of the best things I’ve heard in the last few years. In music school, this is the lightning in a bottle that songwriters and composers spend years trying to learn how to catch. For Paradise Fears, it seems completely genuine and effortless.

Usually, my first complaint with most bands who attempt to find their place in modern pop/rock is that 99.999% of the bands who make it out of their garage and onto real stages don’t have a lead singer with the vocal chops to pull it off without sounding like a bad, off key imitation of Jordan Pundik (of New Found Glory). Thankfully Sam Miller, and the boys of Paradise Fears not only have great voices but also aren’t afraid to get to harmonize and croon a ‘la *NSYNC. The result is the perfect marriage of bubblegum pop with the full assault musicianship of a tight six piece punk rock outfit.

Although not jumping into much experimental territory, there are amazingly well plotted influences like the country-tinged chords on “Just a Feeling” and synth-pop layers on “Advice.” The best part of this record is the sense that there is self-awareness in this band that they can be thoughtful but that never take themselves too seriously. There are some bands signed to major labels that won’t be able to come close the authenticity on this record, because you can hear the passion and hunger in every song they chose.

As a unit, there are a few standouts, most notably Lucas Zimmerman’s sharp, coherent, and confident drumming that takes the lead on the record. Even his choice of percussion pieces lead you to believe that he has some sort of mad scientist approach to creating a rhythmic undercurrent that is the canvas upon which every other band mate is able to color. On “Here to Stay,” the simplistic genius of that steady beat and the off/on pattern makes what would otherwise be an obligatory ballad into something much more, and gives a heart to the song that enhances the vocals and forces the listener to pay attention even when the drums are silent.

The only misstep this record is guilty of perhaps is an overuse of the sometimes clichéd solos, awkward pauses and gang vocals. It is an easy trap, because so many bands are complicit vendors of this cheap applause grab, that it is almost mandatory nowadays. However, Paradise Fears is so much better than the rest; I hope they retire the standard gags on their next record. Overall, the quality of the songwriting makes even the shtick forgivable.

The lead and rhythm guitars are well directed and the bass lines complement the overall sound, but it’s often hard to tell really how good the guitarists are because there are so many safe chord progressions and high voltage distortion. I would love to see what they could do with a little more use of acoustic guitars on one or two tracks. As a whole, Paradise Fears comes off as a polished outfit well produced and tight as a band.

Teenagers in small towns and suburbia will be undoubtedly familiar with, and even comforted by the subject matter in this 10-track, debut full length.  It is rare that musically, vocally, and lyrically longing, angst, fun, and heartbreak can be caught so convincingly that a 15 year old can feel understood and a 30 year old can feel nostalgic just by listening. Yours Truly goes a long way in proving to the world Paradise Fears is ready for the big time. Somebody better call Jimmy Fallon, because these guys deserve a spot on late night.

I give this album 4.5 out of 5

Written by : Jay Escobar-Haskins

BIO – Paradise Fears is a six-piece pop rock group from Vermillion, South Dakota. After recording their debut EP, “The Secret to Dropping Out,” these high school seniors quickly tore through the Midwest in 2009, turning heads and stopping hearts all along the way. 2010 will feature the release of their second EP, “Make Them Believe,” produced by Jordan Schmidt (Motion City Soundtrack, All Time Low). Soon to be known for an energetic live show (think N’Sync meets a UFC Cage Match), this pop punk ensemble is often compared to the likes of Taking Back Sunday and Mayday Parade. Born in the heartland and bred in front of a microphone, the future holds promise for the PF boys: so mothers, warn your daughters.

MEMBERS -

Sam Miller-lead vocals

Cole Andre-rhythm guitar/vocals

Jordan Merrigan-lead guitar/vocals

Michael Walker-keys/vocals

Marcus Sand-bass
Lucas Zimmerman-drums

LINKS –

paradisefears.com

myspace.com/paradisefears

facebook.com/paradisefears

reverbnation.com/paradisefears

purevolume.com/paradisefears

Minneapolis Pop band Love Out Loud‘s “A Story Worth Telling”  get’s 4 star review !! Read Review Here

Love Out Loud – “A Story Worth Telling” (EP Version) Review

The time when rock was full of teen angst captured by waves of angry  guitar riffs and warbling semi-political, self-referential, hyper aggressive, yet passively sensitive lyrics is gone. The suburban boys who used to sit in their rooms and listen to the Ramones, and the Sex Pistols and The Clash, all grew up and had kids of their own with the girls who sat in their room and listened to Wham!, Tiffany, New Kids on the Block, and Richard Marx. This new incarnation of pop infused rock is the child of those times. Where punk groups of the late 90′s embraced pop in a tongue in cheek almost mocking way, the next generation fully embraced their syrupy sweet pop appeal and began a revolution that would send millions to the mall in search of skinny jeans and tight fitting hooded sweatshirts, and die hard music purists in search of a good antidepressant.

With their EP “A Story Worth Telling,” Love Out Loud gives a solid contribution to this rock imprint of Generation Y. The real story worth telling is their willingness to embrace and improve upon the default template of the pop-punk movement of the last few years. Their choice of instrumentation is unconventional at times, mixing the warmth of a Fender Rhodes solo with the hammer of a standard punk A-D-G guitar rhythm; and it is surprisingly pulled off flawlessly. As a usual skeptic, can say with honesty that these guys show the beginnings of what could be a great pop band. The music is easily palatable yet smart and edgy, with many winks and nods to the throngs of suburban churchgoing Millennials who are undoubtedly their core target fan base. While there is nothing completely awe-inspiring or revolutionary here, Love Out Loud’s debut is the promise of a great time that delivers.

The one exception is the balladesque “Welcome Home” which is a standout in its failure as a well-conceived yet poorly executed song lyrically, musically, and vocally. On the other hand their song “Summer” stands out as a well-conceived daring and refreshing task that hit’s it’s mark as a solid pop tune with punk overtones and the heart and soul of a Motown classic. The boyish charm is never lost throughout this effort. Love Out Loud shines best when they are living up to their moniker with upbeat rhythms and high energy instrumentation/vocals. Their method follows the typical pop/punk/indie playbook, with influences that seems to range from Green Day to the Monkees.

At first listen, it is apparent that this effort is self-produced, or possibly produced by less than skilled hands. The band itself is cohesive, without any real standout musicianship that can be identified here. That may be by design or just a sign of youth, regardless it does not hinder their performance as unit rather that quality enhances it. What prevents many other bands like Love Out Loud from truly growing up and achieving crossover appeal is a willingness to be produced. One year working with and being guided by a team of 2-3 solid producers and songwriting coaches, you’d probably see this band on the cover of Rolling Stone. They already have the one important key to success that you can’t buy or fake; star quality.

Hopefully their sound will mature with their song selection and they will find producers to take them to the next level, I see only their inexperience and lack of production that is slightly holding them back at the moment. At this stage of their young career they’ve got the time to hone a great experience while still keeping their youthful exuberance.  For now, Love Out Loud is already making cool, energetic indie-pop tunes that still keep a punk sensibility.  It’s a strong enough start, and a reason for me to recommend buying this EP and paying the admission to see them live whenever they come to your town.

Written by:  Jay Escobar-Haskins ( 4 star review out of 5 )

Published on Rawkzilla by: David Hitchcock

Rawking out to “Perception”,

Fades Away’s new album,you’ll find that there is nothing hidden, these guys shove everything at you through the speakers in this record. Its been a long time since I’ve heard a band come out of the cracks with such solid guitar riffs

and melodic sounds. Finding someone to direct Fades Aways’ talent and potential wasn’t an easy task, but Pillars’ main writer, lead guitar player, and Producer Noah Henson made it seem easy, taking them to the next level and hopefully beyond!

Listening to the albums progression and mixing, I get lost in all the different sounds and vocals that layer each other in rawk-dicules wonder. Some people would consider this bands sound similar to other big name acts, but after listening to the album numerous times, I just don’t know of too many bands out there right now that are on the same page as these guys. Lead singer Dave Erickson vocally pushes the limits of the so called rock genre, and with added harmonies from guitarist Jon Sutton, Fades Away takes you on a ear bursting journey of vocal chord mania. Right Now We’ll Stand (Track 5) is one example where you start out on a musical kaleidoscope, enjoying all the talent coming from the hands behind the instruments, but all of a sudden you get sucked into an array of vocals that make you want to scream out the words along with the band. I had to remind myself that I had headphones on and that other people in the building could only hear me, not the music. But if they had, I bet they would have been right next to me screaming their lungs out, we in the music industry call that a catchy tune! Broken Empire, their last track, reminds you of being in a mosh pit where everyone is standing still, you can smell the breakdown coming, you brace yourself for it, and then in all its epic glory, its over with……..and thats when you then find yourself hitting repeat to relive that last moment.

Not only do these gents have a great album to lean on, they put on a killer live show. After purchasing their own tour bus to travel more, these guys went out and started hitting the national market. From back flipping guitars to almost pure organized chaos on stage, there is something to be said about bands that can bring it all on a stage, leaving you wanting more. Fades Away went from opening support band to Headlining act all in one night. I would definitely pick up the album and keep my eye on tour dates-its one show you don’t wanna miss.

Nate Worden:4 stars

With the release of their latest EP, “The Transition”, North Carolina based rockers Philmont, sound as if they have found a new way to present their lyrics. After their 2009 debut album, which brought this band into the forefront of christian music, came change. Not only visable ones, such as the lineup, but it sounds like their music has transitioned as well. I believe change is never a bad thing, especially when it sounds this good!

The ep starts of with “I Am”, which sounds like a very grown up version of the bands last album, but trust me, Philmont still brings the flavor with catchy hooks and classic melodies. As the cd progresses you run across “The Alchemist”, which Scott talks about the meaning of in a video interview. He describes that the song was written as a “metaphorical debate for creationism”, and how the song takes shape around a scientist who bows to his research and confesses to believing in a higher power.  Moving right along you find “Closer” which on this cd isn’t the last song, but It could be. The crescendo of gang vocals and guitars on this song reminds me of classic sounds from top touring bands, making it my favorite song from the disc.

Rounding out the ep is a song I hope the name has nothing to do with, “The Last Song I Sing”. The band kicks back alot more on this one breaking out the acoustic guitar, but still keeping the Philmont flow throughout the song. Some people have bashed bands for changing their sound, and some bands change so much that you just dont want to listen to them anymore, but I applaude this upgrade. I still will miss the old Philmont sound, but I think i will get over it after listening to this cd a few more times.

-Same As Sunday caught my attention on MySpace (remember that website?), back in 2008. Later, I caught their 2009 “The Dollar for Dollar EP,” an effort showed glimpses of brilliance surrounded by a lot of cookie cutter pop-punk aesthetic. Much of the music I heard from them in the past was fun and exciting but very safe in their choice of chord progressions, breakdowns, shout alongs, and either intentional or unintentional borrowing from Simple Plan, Blink-182, and The Ataris. Same as Sunday made their bones by being a band of music fans that make the type of music they want to listen to at a party with their friends.

With their 2010 release “Earn Your Stripes” the pop punk quartet comprising of Chris Bauchle, Nick Berry, Kyle Martin and Andy Heck prove that they can not only emulate the styles that inspire them but improve upon it and have a lot of fun doing it. Although no one can accuse them of groundbreaking musicianship, they continuously build on every riff, and seamlessly throw changes that make every song stand out on its own while as a whole the EP makes you want to start a mosh pit wherever you are listening.

Earn your Stripes is a great listen at 7 songs all of which are worthy of more than a few listens. “Roads, Where We’re Going We Don’t Need Roads” opens the record with a lot of what I liked about this band when I first heard their material. At the opening, I almost expected to hear a sequel to their last EP, but then they take you to a few new places that sound influenced by some familiar Social Distortion and Buzzcocks tunes (the riffs in “Exits and Entrances” being one example.) There are also moments that shine on pure inventive talent such as the “The Opposite of Two” which is a standout on the EP.

What makes for an interesting dynamic is that Bauchle and Martin both use six string guitars, which add a unique dynamic to the layers. I wouldn’t be doing justice to this review if I didn’t point out that Nick Berry is a phenomenal bass player. As a longtime studio musician and record producer, I know how frustratingly hard it is to achieve greatness in songwriting without having someone who can make the bass jump out grab you by the ears in a song when it needs to. Many bands attempt to do with their sound what Same as Sunday does, but what 99.9999% of those bands don’t have is a bassist who absolutely nails his parts like Berry does on every song.

This effort is strong in many ways and shows enormous potential for the group. My only complaint with this EP is one that’s been present throughout all of their releases I’ve heard to date, and that is the lyrical aspect of their songwriting. Chris Bauchle has a great voice and delivery for the music, but the content seems like it’s trying too hard to be witty and clever rather just than actually being witty and clever.

Great bands of our time know how to go full-bore when writing over the top fun party songs, and also can draw that same energy into writing something that is profound and meaningful; all the while keeping you plugged in with catchy hooks (i.e. Green Day). That sensibility is what separates the bands that come together to make some fun music for a while, and bands who have long lasting careers and get to play their music all over the world. With the caliber of music that Same as Sunday is able to produce, my hope is that as they mature they will become the latter.

3.5 out of 5 stars

Review by J. Escobar-Haskins

from the lead single Damn Rough Night on Artist vs. Poet’s debut full length album Favorite Fix.  This is an album that you put on the morning after that night, and while your head is pounding you smile, calm down, and remember all of the fun that you just had.  Artist vs. Poet, made up of Joe Westbrook on drums, Craig Calloway and Joe Kirkland on guitars, Jason Dean on bass, and Tarcy Thomason on vocals have created a great freshman album, and the sky is the limit for further recordings.

YES…. you can expect to hear the power chords and catchy choruses present on any album from the power pop genre.  The surprising thing is the use of technology.  In an almost Lil Wayne like fashion the boys of Artist vs. Poet have found a way to incorporate multiple different electronic effects along with their live instruments.  Stand out tracks are the single Damn Rough Night, the lead track Car Crash, and the almost Owl City like track He’s Just Not Me.  Perhaps the greatest part of Favorite Fix remains in its ability to pull a listener in to the band’s reality.  The album is downright fun, and listeners are able to put the album on, and drift away in to sunshine and happiness for at least a few moments.

Track Listing:
1. Car Crash
2. Adorable
3. Favorite Fix
4. Unconscious Reality
5. Damn Rough Night
6. We’re all The Same
7. So Much I never Said
8. Miserably Loving You
9. Broke But Not Broken
10. He’s Just Not Me
11. Alive
12. Giving Yourself Away

Review By:  Colin Kramer

Mayday Parade’s latest release, “Anywhere but here”, is an album that could have been a disaster,-to any long time fan of the band the disaster could start immediately. Derek Sanders has taken over as vocalist, and the change could have been brutal.  This is Mayday Parade’s first album without former front-man Jason Lancaster and it could easily have become a lamentation about the various rumors surrounding his departure.  The disaster is averted as this album clearly moves the band forward as a catchy look at maturing emotions. This is of course standard fare for pop/punk outfits, that wear their emotions all over their sleeves.

What sets Mayday Parade apart from the rest of the pop/punksters is a maturity in song writing that shows on Anywhere but Here, but was absent on previous album A Lesson in Romantics.  Although early in the album the tracks tend to blend together, starting with If you can’t live without me, then why aren’t you dead yet the blending disappears.  Lead guitarist Alex Garcia finally has a chance to shine through in the closing moments of this song, with a distinctive solo moment, which carries on in to the remainder of the album.  From this track forward the songs become more varied, with moments of melody, moments of bravado, and moments of depression.  It is this matured sound and stronger story-telling that make Anywhere but Here a pleasure to listen to.  3.5 Stars

TRACK LISTING :

1. Kids In Love
2. Anywhere But Here
3. The Silence
4. Still Breathing
5. Bruised and Scarred
6. If You Can’t Live Without Me, Why Aren’t You Dead Yet?
7. Save Your Heart
8. Get Up
9. Center of Attention
10. I Swear This Time I Mean It
11. The End

- Reviewed by Colin Kramer 08/25/10

Hailing from York, Pennsylvania, Kingsfoil’s latest self-titled release is a breath of fresh air musically.  One can hear Kingsfoil’s influences, but they are mere sonic silhouettes in the backdrop of their shining originality.

While their sound is hard to categorize, I’d call it indie-alt-rock.  With pervasive catchiness, much of their stuff is radio-friendly but on the creative end of the radio-music spectrum to be sure.  Their song writing and melodies are the driving forces of their sound.  Jordan Davis has a Jon Foreman-like quality to his vocals and his melodies are often rhythmic, unpredictable and creative in nature.  He gets away with melodic concepts that few others could pull off well.  While certainly driven by melodies, it’s easy to tell that their song-writing is synergistic as it’s interesting and exciting on multiple levels: melodically, rhythmically, instrumentally and structurally.

Lyrically, this record could be summed up by the themes of struggle and love.  In some songs, redemption, hope and optimism win out.  Other songs seem to fall on the side of angst, hopelessness and darkness even though they’re wrapped in a light-hearted sound.  There’s certainly mature material present (a few sexual references and a couple mild to moderate cuss words), but there’s a lot of cleverly put profundity as well.  Said profundity and honesty will provide many connection points for many fans.

In summary, this is the kind of music that moves you.  It is catchy, but creative.  It is raw, but profound.  It’s progressive, but accessible.  Every single song will leave you humming it’s melodies and reflecting on it’s themes.

Written By: Jamin Cousins

Published By:  David Hitchcock

Track listing:

Dust Of The Cities                                

Give It Up Now

On Our Own Together

Summer Comes

Looking For Trouble

Love Is A Carnival Goldfish

Heartprints

Demons

Lions Den

Albatross

Savannah

Soldmate

Keeps Me Breathing

If You Love Something Push It Away

The pop-rockers of Seabird deliver a solid album of tunes that soar, groove and stick with you long after you turn it off.  Reminiscent of Coldplay, Leeland, and The Fray, this album is full of quirky creativity and hopeful lyrics that will have you tapping your feet from start to finish.

Aaron Morgan has a distinct voice that’s so characteristic of this genre.  His melodies are creative and unpredictable (almost bizarre at times) and his falsetto is beautiful and used tastefully.  Aaron’s tone and melodic creativity are definitely driving forces in Seabird’s sound.  The occasional non-conventional instrument (banjo, Glockenspiel, B3, etc.) adds greatly to the color of the album as well.  The sound ranges from upbeat, quirky pop-rock to beautiful, vulnerable ballads, often paying off with dynamic climaxes.  It’s obvious that Seabird is capable of great depth with their music.

The lyrics are full of hope and encouragement and most seem to be written to specific people.  There a few sweet love songs as well (“Baby I’m in Love”, “The Sound of You and I”, “Don’t Change a Thing”) that sound like they could be to his wife.

Much of the music in this genre hales from Nashville studios and tends to sound pretty generic and stale.  Is Seabird in a league of their own? I don’t know if I’d go that far, but they definitely have a good thing going.  With enough creativity and variety in song writing and backed by solid production, they definitely set themselves apart.

Rating: 4 stars

Tracks–