Tuesday, 3 August 2010
NEVER TAKE FRIENDSHIP PERSONAL- ABSOLUTEPUNK REVIEW
Anberlin’s sophomore release is magnificent. The band’s first release, Blueprints for the Black Market, caused nothing more a minor stir in the scene, but that’s about to change with their brand new full length Never Take Friendship Personal. Anberlin’s brand of up-tempo pop-rock is a serious breath of fresh air. Vocalist Stephen Christian has a high, strong voice that punches songs into high gear. His voice has a distinctive trait to it, similar to Nate’s from The Format. Every song is full of beautifully constructed melodies, hooks, and choruses that create an uplifting experience for the listener. The album’s title track “Never Take Friendship Personal” quickly defines Anberlin’s style – brisk, catchy, and inspiring. Duel guitar parts dance back and forth with each other all song long. While one plays basic chords, the other constantly weaves riffs upwards and downwards. As a result, this and other songs refuse to slip into a tiresome pattern, simply because there’s so much going on. The song structure is fairly basic, but it is made up for with Stephen’s graceful and confident voice.
The second track, “Paperthin Hymn”, begins with a climbing guitar riff that sinks into a cautious verse in which bouncy bass lines and quiet guitars provide a solemn background for tranquil vocals. The song switches gears quickly into an uplifting chorus in where everything just feels…heavenly. Emotions rise as Stephen cries “Who’s going to call on Sunday morning?” This instantly catchy chorus defines Anberlin as not just a feel good band, but as one that invokes deeper emotions. The CD follows suit with another extremely catchy song, “Stationary.” Anberlin’s combination of guitar licks and vocal hooks pervades the mind and will not let go.
The awe-inspiring “Symphony of Blasé” follows. Breathtaking vocals and creative guitar parts make this song have a unique flow. As all instruments drop out during the chorus, Stephen’s voice is truly showcased. High notes are hit while the lyrics of a “last goodbye” are delicately delivered. A bridge is followed by violin strings being plucked. As these are incorporated into the following chorus, I simply lost it. “Symphony of Blasé” gave me goose bumps and stirred up more emotion in my mind than any other song has in a long time. It’s an astounding song that stands apart from the others.
Without missing a beat, the album launches into my favorite track, “A Day Late.” This song has hands down the catchiest chorus I’ve heard in quite some time. A simple vocal line is belted out by Stephen which is then followed by group vocal cries. The song soars forward as each verse has guitar parts that lift the song into the stratosphere. The album proceeds in similar fashion with the following track “The Runaways,” complete with another mind blowing chorus. Thick, dark bass lines are isolated during the beginning part of the verse, until dual guitars join. This time, Stephen’s voice flies above the low, dark chords played by the guitars until he joins them in the second half of the chorus. The result creates yet another mind-bending hook. At this point, my mind was on overload because every single song on this record can and will get stuck in your head.
“The Feel Good Drag” incorporates some heavy distortion effects into the darkest song on the record. The lyrics speak of the Devil as the Stephen screams for the first time on the record. Dark solos and crunching rhythms overlap into “Audrey, Start the Revolution”. This song has a crazy counter balance to it in which a really sinister verse than somehow manages to perfectly flow into the most uplifting, happy chorus on the record. Anberlin nails the transition and it works. The album loses a bit of it’s momentum with an interlude track before the final song, but it doesn’t detract from the listening experience.
Anberlin has created an outstanding pop-rock record. Yes, most of the songs follow the same basic format. No, it’s not incredibly challenging music, nor is it ground-breaking. But does it matter? Not in the least. A band does not have to re-create their sound or genre in order to be deemed good. While the band’s sound is completely refreshing, it is certainly nothing significantly different than other bands out there. Anberlin really hasn’t even changed their sound much from their earlier release. This album is just harder, faster, and better written. The sequencing of tracks creates a perfect flow for the listener, complete with highs and lows. The production is also stellar, as is to be expected from Aaron Sprinkle. The vocals are always crystal clear but are never overpowering. The only concern I have is whether or not this album will have lasting value. Often what gets stuck in your mind quickly is likely to get old just as fast. But I believe that these songs are written so well that once the choruses fade, the listener can find beauty in the musicianship. Never Take Friendship Personal is already one of the year’s best albums solely because of the band’s ability to construct such beautiful songs with euphoric vocals.
The second track, “Paperthin Hymn”, begins with a climbing guitar riff that sinks into a cautious verse in which bouncy bass lines and quiet guitars provide a solemn background for tranquil vocals. The song switches gears quickly into an uplifting chorus in where everything just feels…heavenly. Emotions rise as Stephen cries “Who’s going to call on Sunday morning?” This instantly catchy chorus defines Anberlin as not just a feel good band, but as one that invokes deeper emotions. The CD follows suit with another extremely catchy song, “Stationary.” Anberlin’s combination of guitar licks and vocal hooks pervades the mind and will not let go.
The awe-inspiring “Symphony of Blasé” follows. Breathtaking vocals and creative guitar parts make this song have a unique flow. As all instruments drop out during the chorus, Stephen’s voice is truly showcased. High notes are hit while the lyrics of a “last goodbye” are delicately delivered. A bridge is followed by violin strings being plucked. As these are incorporated into the following chorus, I simply lost it. “Symphony of Blasé” gave me goose bumps and stirred up more emotion in my mind than any other song has in a long time. It’s an astounding song that stands apart from the others.
Without missing a beat, the album launches into my favorite track, “A Day Late.” This song has hands down the catchiest chorus I’ve heard in quite some time. A simple vocal line is belted out by Stephen which is then followed by group vocal cries. The song soars forward as each verse has guitar parts that lift the song into the stratosphere. The album proceeds in similar fashion with the following track “The Runaways,” complete with another mind blowing chorus. Thick, dark bass lines are isolated during the beginning part of the verse, until dual guitars join. This time, Stephen’s voice flies above the low, dark chords played by the guitars until he joins them in the second half of the chorus. The result creates yet another mind-bending hook. At this point, my mind was on overload because every single song on this record can and will get stuck in your head.
“The Feel Good Drag” incorporates some heavy distortion effects into the darkest song on the record. The lyrics speak of the Devil as the Stephen screams for the first time on the record. Dark solos and crunching rhythms overlap into “Audrey, Start the Revolution”. This song has a crazy counter balance to it in which a really sinister verse than somehow manages to perfectly flow into the most uplifting, happy chorus on the record. Anberlin nails the transition and it works. The album loses a bit of it’s momentum with an interlude track before the final song, but it doesn’t detract from the listening experience.
Anberlin has created an outstanding pop-rock record. Yes, most of the songs follow the same basic format. No, it’s not incredibly challenging music, nor is it ground-breaking. But does it matter? Not in the least. A band does not have to re-create their sound or genre in order to be deemed good. While the band’s sound is completely refreshing, it is certainly nothing significantly different than other bands out there. Anberlin really hasn’t even changed their sound much from their earlier release. This album is just harder, faster, and better written. The sequencing of tracks creates a perfect flow for the listener, complete with highs and lows. The production is also stellar, as is to be expected from Aaron Sprinkle. The vocals are always crystal clear but are never overpowering. The only concern I have is whether or not this album will have lasting value. Often what gets stuck in your mind quickly is likely to get old just as fast. But I believe that these songs are written so well that once the choruses fade, the listener can find beauty in the musicianship. Never Take Friendship Personal is already one of the year’s best albums solely because of the band’s ability to construct such beautiful songs with euphoric vocals.
NEVER TAKE FRIENDSHIP PERSONAL- SPUTNIKMUSIC REVIEW
In a music scene that seems to be full of bands using the sing/scream formula, Anberlin provides a refreshing change. Although I happen to like “screamo” (don’t hold that against me), it’s nice to hear something different.
Never take Friendship Personal, the slightly more aggressive, energetic and well written follow-up to their 2003 debut release Blueprints for the Black Market, is full of power rock, alternative rock and pop rock songs. Unfortunately I’m a little irked by the grammatically incorrect album title and the song of the same name. (For those who are confused, it should be “personally”. Guess that’s just not as catchy.)
Ignoring grammar issues, the title track starts the album off with catchy hooks and a melodic sound that instantly reels you in. From there you are taken on an emotional and somewhat moody journey. The mix of loud, fast and poppy songs and softer, slower ones keeps you interested and gives the album a good pace.
There are a few tracks on the record that really stand out. One is the loud and lustful the Feel Good Drag that simply oozes sex with chorus lines that shout,
Your kiss
Your calls
Your crutch
Like the Devil’s got your hand
This was over before
Before we'd ever begun
Your lips
Your Lies
Your Lust
Like the Devil’s in your hands
The sexually-charged and sometimes sleazy lyrics and vocals are fun to listen to. Especially seeing as it's a bit of a surprise as Anberlin are known for being a Christian band.
The beautifully written and executed Paperthin Hymn is another great. As is the catchy and somewhat amusing song A Day Late about missed opportunities and the temptation of an affair (“Insignificantly enough / We both have significant others”).
All of the aforementioned songs show off the amazing vocal talent of frontman Stephen Christian, as does the mellower but no less powerful ballad (the symphony of) blasé.
The rest of the album is filled with more songs about love, failed romances and difficult relationships, which could get boring but doesn’t as each song is made unique by clever songwriting techniques.
What Anberlin occasionally lacks in lyrical ability (“Do they not have pen and paper where you are/Because I haven't heard from you in ages” are the opening lines to Stationary Stationery), is made up for in amazing sound and musical talent each band member possesses. The production, done by Aaron Sprinkle, is superb and not at all overdone, as seems to be fate of many of today’s releases.
After the last of the eleven tracks is over, Anberlin definitely leave you wanting more. I imagine these guys would live up to the standard set by this album in their live performance and I will definitely be buying tickets to their next show near me to test this theory.
Never take Friendship Personal, the slightly more aggressive, energetic and well written follow-up to their 2003 debut release Blueprints for the Black Market, is full of power rock, alternative rock and pop rock songs. Unfortunately I’m a little irked by the grammatically incorrect album title and the song of the same name. (For those who are confused, it should be “personally”. Guess that’s just not as catchy.)
Ignoring grammar issues, the title track starts the album off with catchy hooks and a melodic sound that instantly reels you in. From there you are taken on an emotional and somewhat moody journey. The mix of loud, fast and poppy songs and softer, slower ones keeps you interested and gives the album a good pace.
There are a few tracks on the record that really stand out. One is the loud and lustful the Feel Good Drag that simply oozes sex with chorus lines that shout,
Your kiss
Your calls
Your crutch
Like the Devil’s got your hand
This was over before
Before we'd ever begun
Your lips
Your Lies
Your Lust
Like the Devil’s in your hands
The sexually-charged and sometimes sleazy lyrics and vocals are fun to listen to. Especially seeing as it's a bit of a surprise as Anberlin are known for being a Christian band.
The beautifully written and executed Paperthin Hymn is another great. As is the catchy and somewhat amusing song A Day Late about missed opportunities and the temptation of an affair (“Insignificantly enough / We both have significant others”).
All of the aforementioned songs show off the amazing vocal talent of frontman Stephen Christian, as does the mellower but no less powerful ballad (the symphony of) blasé.
The rest of the album is filled with more songs about love, failed romances and difficult relationships, which could get boring but doesn’t as each song is made unique by clever songwriting techniques.
What Anberlin occasionally lacks in lyrical ability (“Do they not have pen and paper where you are/Because I haven't heard from you in ages” are the opening lines to Stationary Stationery), is made up for in amazing sound and musical talent each band member possesses. The production, done by Aaron Sprinkle, is superb and not at all overdone, as seems to be fate of many of today’s releases.
After the last of the eleven tracks is over, Anberlin definitely leave you wanting more. I imagine these guys would live up to the standard set by this album in their live performance and I will definitely be buying tickets to their next show near me to test this theory.
NEVER TAKE FRIENDSHIP PERSONAL
1. Never Take Friendship Personal
2. Paperthin Hymn
3. Stationary Stationery
4. (The Symphony of) Blase
5. A Day Late
6. The Runaways
7. Time & Confusion
8. The Feel Good Drag
9. Audrey, Start the Revolution
10. A Heavy Hearted Work of Staggering Genius
11. Dance, Dance Christa Paffgen
Produced and engineered by Aaron Sprinkle
Mixed by JR McNeely
Mastered by Troy Glessner
Executive Producer - Brandon Ebel
The second album from the band was mainly inspired by their dislike of their guitarist Joey Bruce's attitude to the band. Christian said he was "all about the sex and drugs" and that was not the direction the band wanted to be seen as going in. They replaced him with Nathan Strayer from the band The Mosaic.
This album was received a lot better than its successor, and even hit the mainstream charts... at number 144.
They promoted the album by releasing a song a day to hear before the actual release date... which I think builds up the suspense.
Two singles were released on this record, 'A Day Late' and 'Paperthin Hymn' which were both successful on alternative charts.
Sunday, 1 August 2010
Anberlin - Ready Fuels
This is the video for Ready Fuels, the first single the band released as Anberlin.
A few opinions on this video from youtube.com by fans and critics...
"I love Anberlin, but this video was definitely made on a budget"
"This song is brilliant, but the video is awful"
"I cannot think of a better video to go with this song - perfect"
So a mixed reception then...
BLUEPRINTS FOR THE BLACK MARKET
1. Readyfuels
2. Foreign Language
3. Change The World (Lost Ones)
4. Cold War Transmissions
5. Glass To The Arson
6. The Undeveloped Story
7. Autobahn
8. We Dreamt In Heist
9. Love Song
10. Cadence
11. Naive Orleans
Produced and Engineered by Aaron Sprinkle
Mixed by Troy Glessner
Executive producer - Brandon Ebel
Art Director, photographer and designer - Michael Christian Mccaddon
The first album 'Blueprints for the Black Market' released on Tooth and Nail was only one year after the band forming and the only album with the original guitarist Joey Bruce playing on it.
It was by far their least successful album, only selling 60, 000 copies. They were said to be doing a poor attempt at what others at the time were doing.
Readyfuels was the only single off the album, and was one of the 5 tracks the band originally recorded as demos along with Autobahn and Foreign Language.
Due to heavy touring of this album, it headed Anberlin off to a good start with a very dedicated fan-base incredibly early on in the band's life.
2. Foreign Language
3. Change The World (Lost Ones)
4. Cold War Transmissions
5. Glass To The Arson
6. The Undeveloped Story
7. Autobahn
8. We Dreamt In Heist
9. Love Song
10. Cadence
11. Naive Orleans
Produced and Engineered by Aaron Sprinkle
Mixed by Troy Glessner
Executive producer - Brandon Ebel
Art Director, photographer and designer - Michael Christian Mccaddon
The first album 'Blueprints for the Black Market' released on Tooth and Nail was only one year after the band forming and the only album with the original guitarist Joey Bruce playing on it.
It was by far their least successful album, only selling 60, 000 copies. They were said to be doing a poor attempt at what others at the time were doing.
Readyfuels was the only single off the album, and was one of the 5 tracks the band originally recorded as demos along with Autobahn and Foreign Language.
Due to heavy touring of this album, it headed Anberlin off to a good start with a very dedicated fan-base incredibly early on in the band's life.
A review of the album...
"While it accesses the earnestness of emo through a side door, Blueprints removes punk and hardcore from the equation entirely. Some songs feature dynamics evocative of these genres ("Naïve Orleans," the post-hardcore stylings of "Glass to the Arson"), but those same tracks are cleaned up with electronic programming or lush chorus vocals that are much closer to bland alternative pop/rock. The bopping "Foreign Language" marries the yearning of Cutting Crew to a post-new wave beat, but a song later Anberlin is channeling the grandiose proto-metal of Tool, albeit without that group's slithering underbelly. This obviousness doesn't do Blueprints for the Black Market any favors. It's such a glimmering recording, and the songs are so minutely arranged to represent a particular sound, that the album ends up becoming an utterly pleasant bore. Christian and his cohorts turn in some determined performances, but they lack any definition. A preening cover of the Cure's "Love Song" doesn't help matters" - Johnny Loftus, All Music Guide
"While it accesses the earnestness of emo through a side door, Blueprints removes punk and hardcore from the equation entirely. Some songs feature dynamics evocative of these genres ("Naïve Orleans," the post-hardcore stylings of "Glass to the Arson"), but those same tracks are cleaned up with electronic programming or lush chorus vocals that are much closer to bland alternative pop/rock. The bopping "Foreign Language" marries the yearning of Cutting Crew to a post-new wave beat, but a song later Anberlin is channeling the grandiose proto-metal of Tool, albeit without that group's slithering underbelly. This obviousness doesn't do Blueprints for the Black Market any favors. It's such a glimmering recording, and the songs are so minutely arranged to represent a particular sound, that the album ends up becoming an utterly pleasant bore. Christian and his cohorts turn in some determined performances, but they lack any definition. A preening cover of the Cure's "Love Song" doesn't help matters" - Johnny Loftus, All Music Guide
As discussed before, this is a review from www.jesusfreakhideout.com again, sparking rumours of the band being Christian Rock.
"The album starts off with the fast paced, "ReadyFuels," a perfect opener from start to finish with infectious melodies and catchy hooks that are likely to attract any music fan.Blueprints... proceeds into the very pop punk "Foreign Language," a track about the differences between guys and gals, and is an excellent second track (and radio single choice, might I add). It then immediately follows with the emotional "Change the World (Lost Ones)," which is by far one of my favorite tracks on the record. With every passing song, you really do begin to love this band more and more. The very melodic "Cold War Transmissions," follows with "Glass to the Arson" bearing a new metal feel to it, and if you ask me, feels very reminiscent of Trust Company, while serving as the most aggressive song on the disc.
We then go into the very contemplative, "The Undeveloped Story," which immediately follows the upbeat "Autobahn" which offers lyrics like "And the stereo sings the song / We don't hesitate to sing along / Tried to dream to live / We could see the world tonight" "We Dreamt in Heist" is an amazing rock track which precedes the renowned "Love song" (originally by the Cure). They truly do this song justice and would surely make the Cure proud! We then move into a more emo side of the record for one of my personal favorite tracks, "Cadence," as the song says, "The closer I come to you / The closer I am to finding out your a miracle to me." Blueprints For The Black Market then closes with the infectious-yet-melodic, "Naive Orleans," serving as the perfect ending to the glorious debut of one of Christian rock's best new talents." Matt Gray
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