Quietdrive-Deliverance

I would highly recommend you to give this a shot. If you don't like it, you don't like it. At least you broadened your horizons.

(For all of you who are too busy being narrow-minded to try something new, I'm not sure why you're even on here!)

The step from 'When All That's Left Is You' to this album is the biggest positive about this: Quietdrive have evolved and tried something different.

Deliverance is a very difficult album to pigeon-hole into a category, all I can call it is 'alternative rock'. It is both 'harder' and a lot more experimental than the last, but not to the point where they stray too far in one direction-there is still a pop-rock sensibility running straight through the middle of it.

Deliverance sounds like a nice blend of a variety of different styles, it's difficult to pinpoint who they sound like. At times, it sounds like a synergetic combination of U2 and Fall Out Boy and at others there's a sound reminiscient of Blink-182's last, more serious album, highlighted in the fact that Quietdrive have mastered the art of the hook/chorus.

To do justice to this album. it needs to be listened to as a whole. It has a consistency in quality that was lacking on the last album, which had two stand-out tracks which made the rest sound hugely inferior, despite the fact it probably wasn't.

In conclusion, this is probably going to come in as my favourite rock/alternative album of 2008, and probably one of my favourite albums of the year in all categories.

Believe-7.5/10
-The change in their style is shown right from the off: The song explodes in, and begins with a pounding drumbeat.

Deliverance-9/10
-Starts of with a Metro Station/Cobra Starship-esque drum sample, but steps up into a feel-good anthem with a great chorus that blends into the verses nicely.

Daddy's Little Girl-8.5/10
-The title says it all. A mocking, sarcastic chorus surrounded by calm, reflective verses. It all combines into a nice image of a thought process, moving from calm reflection to anger, and back.

Motivation-7.5/10
-A more pop-punk affair, and probably not as lyrically mature as the rest of the album. It is however likeable and highlights the range of styles on the album.

Birthday-8.5/10
-Great lyrics, which are brutally honest and create the impression that this is probably the conversation that was had whilst hungover. Intelligent use of simple, repeated chords in the verses that prevent the song from becoming too serious. Very memorable chorus.

After All-6.5/10
-Least favourite song on the album. The transitition from the bouncy verses to a darker chorus don't quite work, the chorus feels like it should be in a different song. It's also a little disjointed as a song, but it does end quite well, when it becomes introspective and shows a range of emotions from thoughtful, to angry.

Pretend-8/10
-A good song in which the verses probably just outshine the chorus, somewhat of an anomaly for this album. The slow down towards the end builds back into an impressive, Rush Together-esque finish.

Hollywood-9/10
-A great bridge that builds into a very strong chorus. They use a wide variety of styles on this song, with traces of an acoustic guitar in places. This, when combined with the great vocals/backing vocals, good lyrics and slow guitars makes for what is one of the strongest songs on the album.

Kissing Your Lips-7.5/10
-Begins with an almost reggae/pop vibe. Very simple and laid-back, but effective nonetheless. The chorus isn't shooting for overkill, both instrumentally and lyrically, which offers some diversity from the rest of the album.

Take Me Now-7/10
-A good bridge and chorus, which is built up nicely by the verses. A solid track, but nothing outstanding.

Promise Me-8/10
-The opening line draws you into the song, which then builds upon it progessively. It culminates into a big, loud chorus which creeps into the verse. The lyrical (love) content of the verse does prevent this from being as good as it should be, as it doesn't seem to fit properly.

Secret-8/10
-A very likeable song which opens up with haunting vocals, that offer a surprising contrast to the Spanish-style guitars that jump in. It adds together to create another progressive build to the chorus, a chorus which screams Fall Out Boy.

Starbright-9.5/10
-They saved the best for last. A genuinely brilliant song, with really honest lyrics that compliment the fact that this is the softest song on the album, and in turn makes it the most memorable. It feels like an Angels and Airwaves song, but instead of taking a complicated route to getting their message across, they take the idea of appreciation from afar and turn it into an honest track.

Upcoming Reviews

Quietdrive-Deliverance: This album veers away from the pop-punk nature of the last one and heads in a slightly heavier, and at times a more experimental direction.

Songs to download from their previous album (When All That's Left Is You) : Rush Together and Time After Time.

Take a chance! If you don't like them, delete them. If you do, congrats!

Common-Universal Mind Control: Another album where an artist changes direction and tries something different, this time moving from conscious, neo-soul rap to a more electro-tinged offering.

According to a recent interview, Common was 'sick of hearing the DJ play all these great party jams but not being able to play anything of mine.'

Songs to download from previous albums: U, Black Maybe (from Finding Forever), Testify (from Be), Breaker 1/9 (from Can I Borrow A Dollar?).

I'm also trying to get hold of Donavon Frankenreiter's newest album. It's highly unlikely, but if anyone has it, send it my way so I can fulfill a review request!

EPMD-We Mean Business Review (requested)

As requested by Murray, here is my review of the first release by EPMD in over 9 years. For those of you that don't know, EPMD are one of the biggest rap groups to come from the East Coast, and really made an impact throughout the mid-90s.

Before we go anywhere though, it's only fair that I confess to not having a great deal of knowledge or liking for East Coast rap. With that said, I probably can't appreciate or analyse this from a completely perfect perspective.

This album however, was a fairly pleasant surprise, highlighted by the fact it genuinely sounds so old-school, you can smell the dodgy school dinners.

This seems to be further highlighted by who they have chosen to do guest verses on the album. Instead of succumbing to using guys who feature on everything, it's nice to hear from guys like KRS-One, Raekwon and such.

The old cliche of 'going back to my roots' is used all the time by artists, but it never quite materialises. With the guest spots, EPMD are making a clear statement before you've even put the CD in-they do mean business, and they mean it in the same way they did 15 years ago.

They don't sacrifice themselves to the easy money of throwing in a catchy, lyrically-numb hook for the sake of getting some radio time. The hooks and verses seems to flow into one another seamlessly, which is both good and bad-it offers consistency and a nice flow throughout.

However, in certain songs it does give it a repetitive feel which can prevent any particular verse or line from jumping out at you. Arguably, this does create the perception that the guest verses are outstanding, just because they break up the monotony.

Puttin' Work In (Ft. Raekwon) - 7.5/10
-A memorable opening verse with some nice lines, and a beat that hooks you in straight away.

What You Talkin' (Ft. Havoc of Mobb Deep) - 6.5/10
-The beat has a slightly creepy feel which is cool, but I don't really like EPMD's verses as much as Havoc's.

Roc-da-Spot - 7/10
-Another good production job and they do a nice job flowing on this beat, a likeable song.

Blow - 8/10
-Sounds like an old Rakim beat, has an atmosphere and Erick Sermon does a great job with some of his lines-Loving the wrestling reference!

Run It (Ft. KRS-One) - 6/10
-KRS doesn't come as intense as is expected, and none of the verses really stand out.

Yo (Ft. Redman) - 7/10
-I like Redman's hook and verse with his typical energetic approach, and it's got a memorable, uptempo beat.

Listen Up (Ft. Teddy Riley) - 6.5/10
-The beat contrasts with the lyrics, which is good and bad (jazz/pop beat, harsher lyrics). The contrast is creative, but neither the beat nor lyrics are outstanding.

Bac Stabbers - 8/10
-They speed their flow up and chuck in a nice sample for the chorus. The back-and-forth rapping near the end is impressive too.

Never Defeat 'Em (Ft. Method Man) - 7/10
-A nice laid-back beat which lets the lyrics take centre stage. Method Man has done better.

Jane - 6/10
-Just not a fan of this, it's average. Cool story, but seems too forced.

Left 4 Dead (Ft. Skyzoo) - 6.5/10
-Skyzoo does a good job, and EPMD do OK. 9th Wonder has done much better beats though.

They Tell Me (Ft. Keith Murray) - 8/10
-A haunting beat with some quiet, eerie singing makes for a powerful track with some good verses.

Actin' Up (Ft. Vic D and Tre) - 8/10
- I really like some lines in this. The sarcastic drops of certain current artists/albums/lyrics makes for a creative and intelligent track, which is highlighted again in the back-and-forth rapping around halfway through.

808s and HeartBreak Review

Might as well start with an album that I avoided illegally downloading, and waited until release date to enjoy, (With the obvious exceptions of Love Lockdown and Heartless)-Kanye West's 808s and Heartbreak.

Most of you weren't too keen on the new direction of 100% AutoTune singing from Kanye on the basis of the 2 songs I mentioned above, and understandably. Graduation was a Hip-Hop classic (go back and listen to it if you dare question that statement) and potentially ruining that is an understandable concern.

Trust me on this-you need to get this album. When people do the same thing on more than one album, it gets boring. That's why Late Registration is never viewed as a classic Kanye album. It was viewed as a lesser version of the (also classic) College Dropout.

Doing something different is always a risk, and fortunately Kanye West pulls it off to near perfection. The AutoTune isn't turned up to max volume unlike some recent songs (Ron Browz/Jim Jones-Pop Champagne abuses the AutoTune) and it still lets Kanye's voice come through.

Most importantly, it just makes artistic sense to use it. The production is generally minimalistic, and almost classic sounding. Adding AutoTune singing gives a nice retro feel, but with a futuristic tinge.

Enough blabbing (I could go on further...). Song-by-song ratings:

Say You Will - 7/10
-It's a bit too long, but has a good beat and chorus.

Welcome To Heartbreak (Ft. Kid Cudi) - 10/10
-Amazing chorus, great lyrics, great beat, almost perfection.

Heartless - 8/10
-Great chorus and bouncy production. This grows on me more and more.

Amazing (Ft. Young Jeezy) - 6.5/10
-The beat is too plain, but Jeezy's verse saves it. May grow on me.

Love Lockdown - 8.5/10
-Great drums and atmosphere, lyrics a bit of a letdown.

Paranoid (Ft. Mr. Hudson) - 7/10
-Nice beat, good rapping from Kanye. I need to listen to it more.

RoboCop - 7.5/10
-Really unusual beat, something different with strings tied to robotic samples.

Street Lights - 7/10
-Nice atmospheric track with some deep lyrical stuff going on.

Bad News - 7/10
-This is generally a sound track, but there's nothing outstanding going on.

See You In My Nightmares (Ft. Lil' Wayne) - 9/10
-A real anthemic feel. Wayne is the star of this. Imagine this with some guitars!

Coldest Winter - 9.5/10
-Brilliant, heartfelt lyrics added to an undeniably memorable chorus.

Pinocchio Story (Live) - 6/10
-Nice lyrics, but far too long, poor quality, and is there even a beat?!