Review: Taking Back Sunday – New Again

What is it with Taking Back Sunday and line up changes? Almost every other album, there’s at least a new guitarist. At one point, this dramatically affected their sound (on Where You Want To Be, for example), but this time, it still feels like Taking Back Sunday. And that’s good. That’s really good.

The particular edition I’m reviewing is the Taking Back Sunday New Again car kit, which comes with all kinds of wonderful toys such as a TBS flash drive, a t-shirt, exclusive web content and b-sides and much more. Something that doesn’t change is Taking Back Sunday’s dedication to its fans, and this limited edition is decently priced for the amount of extras you get with it. And of course, who can resist a tongue in cheekadvert in true Taking Back Sunday style?

So, onto the actual music! The album opens with the track New Again, a proclamation of their new incarnation. It’s sharp, it’s punchy, it hits you with the force of a freight train and it’s incredible. New Again is definitely one of the best tracks on the album and the best one to open with for sure. Sink Into Me, the first single, is up next, and it’s a delicious affair with some provocative lyrics and a great chorus. I can guarantee you’ll be singing it for days. The album is consistently great. No song sounds the same, but each song has Adam’s ferocious vocals and that crisp guitar sound that Taking Back Sunday have always had and it works. Some personal highlights are Swing and Cut Me Up, Jenny. Swing is a fairly upbeat affair with some great riffs, and Cut Me Up, Jenny is one of the more emotional songs on the album, reminiscent of A Decade Under The Influence, another of my favourite Taking Back Sunday songs. Lyrically, Taking Back Sunday haven’t weakened either, with some of my new favourite lines coming from this album. The chorus to
Swing
is fantastic, and the viciousness of Carpathia and the way Adam sings it is sublime. Carpathia is also the only song in which Matt Fazzi’s presence is really noticeable, which is a shame, because it would be good to hear him in some of the other songs, so it would be interesting to see how they perform live. The album also ends strongly, with Everything Must Go, a heart-wrenching finale which is the best song on the album.

This time, Taking Back Sunday are claiming to be ‘New Again’, and I suppose in some respects, you could say that they are. The introduction of guitarist Matt Fazzi has resulted in the removal of one of the key TBS characteristics – that back and forth between Adam and the guitarist that we’ve been so familiar with. Is it something I miss? Considering my favourite Taking Back Sunday album is Tell All Your Friends, I guess it is. However, the band are flourishing with the new formula, and this is one of the strongest Taking Back Sunday albums since the beginning. That said, it doesn’t feel unfamiliar. This is still the Taking Back Sunday I know and love, but this time, packing a greater punch than ever before. New Again indeed.

4 out of 5 high fives!

TwoBeatsOff – the origins story

Originally posted on the 23/12/09. To be honest, TBO’s focus has shifted once again, but at this moment in time, this is what it was.

Lately, I’ve found myself with a bit of a problem. Whilst advertising for new writers and receiving responses from potentials, I’ve been faced with a fairly ponderous question – what the hell is TwoBeatsOff? Fightclubsandwich has actually written a fairly comprehensive answer to this for a good old fashioned paper ‘best of’ zine, composed of our favourite articles so far and I am sure that her piece covers just about everything. But, being as vain as I am where my projects are concerned, I have decided to try and define it myself in honour of our first birthday occurring a couple of months ago.

TBO started as some kind of vague dream within a writing group that I used to be a part of with Nox, fightclubsandwich, ninthandash and A.Von Doll. With half of the members within that group, I knew it would never happen. I remember the Myspace threads trying to get people involved, and there were cries of “I’d love to, but I’m too busy,” “I’d keep forgetting, I’d suck at doing it regularly” and also, golden silence on the topic. Well, at least they were honest. So I turned to my three closest friends within the group who became the pain-in-the-arse writers I have today (A.Von Doll came along a bit later). Despite that, I would never trade them, no matter how long it takes to get an article from them. You gotta wait for diamonds to be found, right?

And so, the foundation was there. Nothing actually happened for about a year. We were too preoccupied with summer and stories and other such things. Then, the term ‘personal statement’ came into mine and ninthandash’s lives. For those of you who don’t know, a personal statement is the most evil piece of writing to exist. You have about three quarters of a page to tell a university everything that’s good about you. Mine was lacking, so I decided that I would make something good, due to having been turned down numerous times for work experience at local papers. With this new found motivation in hand, I bought the hosting and we were set. We finally stopped being fraudulent pricks and finally had some proof of journalistic experience. But we couldn’t do it on our own, so we recruited Nox and fightclubsandwich and we tried to write things we thought people would enjoy.

But that’s not where the story ends. I get a hell of a lot of questions about the name ‘TwoBeatsOff’. In fact, it came from meeting soufex at a Say Anything show. Originally, TBO was going to be called Paper Hearts. It sounded cool and edgy, but Hawthorne Heights or some other shitty band like that had a song called that, so that was totally out of the window. We needed something a little more punk rock, a little less whine. So, after meeing soufex, adding her on Myspace and asking her to join us, I discovered she was a Fugazi fan. This was right in the middle of discussing names with ninthandash. “Shit, wait! Fugazi songs, you got a list?” I typed and she came up with a link. It was weird – I think we actually typed Two Beats Off at the same time. It has everything; music, punk, slight sexual innuendo, and it’s also one of my favourite Fugazi songs. I guess nothing could stop us now, right?

Except the problem with TBO is that we don’t have a clear area of focus. At first, we were solely to be a music zine focused around the punk subculture, delivering scathing reviews and doing interviews with relatively famous bands. To some extent, that runs through the zine’s blood and music, particularly the punk and indie scenes are our main influence. However, it got hard just writing about music, so we broadened to movies, fashion, games, comics and even the more serious stuff – one of my favourite pieces is soufex’s inspirational ‘Fight With Tools’. So loosely, TBO is a pop-culture zine with other bits thrown in. We write about what we like. Even though we’re all girls, we’re not quite feminist, despite a number of us being feminist. The most true description I can give of this zine is that it’s independent, honest and that we love this zine like nothing else. And we hope you do too.

Review: Tiger Army – Music From Regions Beyond

Tiger Army are a band that I’ve always been really into. Psychobilly is just one of the coolest genres ever and Tiger Army kind of exemplified that in previous years with really spooky sounding songs and chilling lyrics. However, when I picked up their latest album, Music From Regions Beyond, I was thoroughly disappointed.

The album opens like any other Tiger Army album – with an interlude. No frenetic howling this time, just some good old fashioned guitar. It’s a strong opening, and the song it leads into, Hotprowl is perfectly on track for Tiger Army; it has the same raw energy and fast pace that you’d expect from the band. The echo effect on Nick 13’s voice works as well as it always has, and to be honest, Hotprowl is an excellent song. The next song, Afterworld is equally as good, delivering a psychobilly punch right to your ears.

And then it all goes downhill.

The truth is, all the songs start to blend into each other after a while. Some argue that psychobilly has a tendency to do this anyway, but that’s only if it’s not handled right. Tiger Army have made astounding albums in the past, albums that I have listened to over and over without losing interest, and I’m afraid that MFRB is just not one of those albums. Why? Well, it loses its edge after the first two songs. Admittedly, it picks up a bit towards the end, but the energy that was there just dissipates and we’re left with an album of mediocre songs. These songs aren’t necessarily bad, they’re just uninteresting. Oh, except for As The Cold Rain Falls, which is the band’s attempt at a Cure song. It really just does not work. It’s got this vaguely dreamy quality which does more to irritate than it does to enchant. All in all, not good times. Also, there’s a distinct lack of the bass sound. It’s never been as prominent in Tiger Army as in other psychobilly bands, but there’s just no real bass to half of the songs and they feel a little hollow.

However, there are things about this album that work though. Nick 13 still has a beautiful voice, and yes, I would say that Hotprowl and Spring Forward are some of the best Tiger Army songs I’ve heard. There’s a beautiful song called Hechizo De Amor, sung completely in Spanish, which is truly enthralling and sends chills up my spine. The final song, Where The Moss Slowly Grows is an absolutely wonderful song to finish on, filled with acoustic guitar and spooky psychobilly riffs. It’s just really unfortunate that the middle section of the album is so bland and uninteresting.

This album had a lot of promise, and as I said, there are songs on here that are great. It’s just sadly not enough to save the rest of the album.

2 out of 5 high fives

Live: The Academy Is… – Sluggo’s, 28/1/09 (a review by Nox)

Wednesday night a friend and I drove three hours to Pensacola, FL to a small vegetarian restaurant/bar called Sluggos to catch The Academy Is… on their ‘Hello My Name Is…’ acoustic tour.

The doors were meant to open at 8pm; however, they opened around 8:45pm. During the wait a homeless man that referred to himself as ‘Just James the superstar/number 1’ decided to talk to my friend and I as well as break into song at any given time. He said he played guitar. He also told my friend that she was Sarah Palin because of her glasses, and later he decided I was in the Mickey Mouse Club and knew Britney Spears. None the less, the somewhat small crowd filed into the building around 8:45pm and Just James stayed outside. A recently signed local band called Sky Tells All opened the show and were rather humorous with their small talk, but as far as music goes they were good., certainly opening act material.

After Sky Tells All played and broke down their set, Tony, TAI’s tour manager, began setting up the stage for William Beckett and Adam Siska. William came out alone first. He had words with the crowd before he played, and I must interject that in such a comfortable setting he acted more like he was playing to a group of friends than a crowd of teenagers. He played songs from all three albums, Almost here, Santi, and Fast Times At Barrington High, as well as some B-sides. Half way through the set Sisky joined in as well. However, I must say the best part of the night was how many songs they covered. The list ranged from Radiohead to Steriophonics to John Lennon, and even Alkaline Trio. It was definitely worth the drive just for that.

It is here that I must include how excellent the music sounded. Usually, when I think acoustic I think the songs lose some of the umph they have when played traditionally by the whole band; however, on this night I felt as if I was listening to a recording of each song and each song maintained its initial impact. Nothing was lost in the conversion to acoustic and for that I am very thankful as well as insanely impressed.

In the end, I would sum the performance up as this: If TAI were to put out an Acoustic album, I would have it pre-ordered.

Also, William was very proud to say that he had solved the Rubik’s Cube and asked everyone to join him in watching one of the merch guys solve it in just a few minutes.

Tales From The Other Side (Thoughts Of A Girl Who Fell Off The Edge, But Not The Wagon) by fightclubsandwich

So the last time I drank alcohol was about two months ago. I did reach a certain degree of intoxication. I did remember everything that happened to me whilst drunk the next day. I did not throw up at all. I do not feel that I can identify myself as being, in the strictest sense, straight edge any longer.

I don’t know if I feel bad about not being straight edge anymore. I don’t know what I mean by the word “bad” in that last sentence, actually. Do I feel guilty? Like I’ve let anyone down? Like I’ve let myself down? Not at all. I mean, I know that my life is not going to transform into some mad bacchanalian orgy just because I’ve decided that complete and total temperance isn’t really for me. But it is definitely strange to change your mind about any aspect of your lifestyle when you’ve already aligned yourself with some movement or idea, because suddenly you’re swamped with other people’s ideas, and every movement you make could turn you into a hypothetical situation. Its hard to turn away from straight edge when people already have their own ideas about what that move means.

The figure of the ex-straight edge kid who becomes a raging alcoholic as soon as they can legally do so is a familiar caricature in the dell’arte of the punk scene. There are certainly many potential reasons for this, for example, straight edgers are often perceived as a group with an inflated sense of their own moral superiority and very little in the way of a sense of humour, so the irony of their fall from temperance has elements of humour and schadenfreude, (although obviously the humour vanishes when you over-analyse it like that). Sometimes the “fallen” straight-edger has even gone so far as to get triple-X tattoos advertising their temperance, which acts as a physical manifestation of the moral that is invariably implicitly attached to the character: i.e. pride comes before a fall, if you attach yourself to these codes too zealously then you are setting yourself up to be made into a fool.

Alternatively, you could argue that punks are inherently cynical due to the subculture being all about rejection of social norms and mainstream politics, with the posi-core kids as the sole idealistic exception. Therefore they become instant and obvious targets for their peers with a strain of humour that they aren’t really interested in.

The metaphor fixed in everyone’s minds is of a dam that’s straining under the pressure of suppressed rebellious urges. Imagine that the dam is holding back whisky instead of water. Then when it breaks, the unpractised individual is thrown into a sandbox of intoxicated possibilities and has no idea how to organise them all. So they just give in to everything and to excess.

Oh yeah, and that’s another potential reason for the possibility of the popularity of the fallen straight edge character. The exaggeration of the fallibility of the abstinent can make the “normal person” who does engage in some moderately unwholesome practices seem worldly and knowledgeable in comparison. It subverts the idea of self-control on its head, (especially self-control as the Gorilla Biscuits fan would understand it) and says instead that you can’t control the way you deal with something you’ve never tried. Complete temperance is only ever a set-up that is going to get knocked down.

So the fallen straight-edger is – like most stereotyped caricatures – backed up by a lot of reasoning, even if it’s not real. I’m not saying that this character doesn’t exist in real life – there’s no reason that they shouldn’t – but it really only tells one part of the story, and the whole point of this article is to go beyond that. I think one of the scary parts of letting go of straight edge is that people will assume that you’re not letting go, that you’re falling off. There is a difference between choice and self control in the same way that there’s a difference between leaving a movement and running away, high speed, on rocket-powered roller-skates.

My own decision to leave the straight edge thing behind parallels my reasons for being interested in the idea to begin with. One of the first things that appealed to me about straight edge culture was that it was an excellent source of defiance and anger. Here was a group that was feisty and even ready to defend itself from a huge chunk of the counter-culture, so surely they’d never be afraid of the mainstream? As a teenager, I always felt kind of weird and angry about everyone being out of their skulls all the time because I was scared that people did it as an excuse and an escape. I wanted to be alert and informed and productive and the sheer excess to which people get hammered – Wikipedia describes binge-drinking as “the modern definition of alcoholic beverages with the primary intention of getting intoxicated” – made me feel like I was living in a world that just didn’t care. It was as if everyone was more than happy to drop out of the present and the now, and just sit in the swill of their own dying thoughts. How could drinking to excess ever be rebellious and different when everyone does it? Drunkenness seemed to be the preferred state of mind of the accountants and office workers that I dreaded someday growing up to become.

So I’m pretty sure that my decision to drink again – from time to time, and if I want to – is based upon several different strands of reasoning, but for the sake of the cohesion of this article, I’m going to assert that most of all, it comes from outside forces. From watching the people around me having too much fun while they drink and feeling like an outsider, from the greater need for a distraction from my own inner cynicism, from everyone else making it look so cool. Stuff like that. I think the way that I’ve changed as a person over the last few years – especially since being at university – has left me no longer feeling that same connection to the whole straight edge thing that I once felt. And I don’t think that this is altogether a change to get pessimistic about, I think its just a shift in areas of concentration and what’s important to me. One of the things that I loved – and still love – about bands like Gorilla Biscuits and 7 Seconds was the way they got me so excited and inspired. I felt young and energised and like I could do anything and it didn’t suck to be a teenager after all. On the other hand, I am now nearing twenty and scared, and cynical enough that I want to scoff at that last sentence. I’m sure I’m not the only one who feels this way, we all just want to be the same person we’ve always been on the inside, but so long as we’re all looking for validation and inspiration from the world around us, everyone’s taste in music and literature and everything is going to keep changing.

So is there a right and wrong way to quit straight edge? While it can be sad to put a movement that was once so important to you behind yourself, the trick is to do so in the knowledge that in the future you’ll be able to look back on it with the right kind of nostalgia, and that you can still admire the rules that someone else lives by, even if you can’t connect with them yourself. And what’s sadder is the idea in the minds of some people that the only way to change as a person is through disillusionment and quitting. The idea of someone plunging straight into the thing they’ve always hated, and the use of black humour as the only response to that is the kind of dark thinking that’s perfectly valid but can breed narrow-mindedness. If you’re a cynical person, or just turning into one by default because time is stealing your idealism, well, that’s okay, that’s just what happens sometimes. Just be aware that there are still people out there who think differently to you, and that you’re going to have to find a way to interact with them other than just as the butt of your jokes.