Inferni – The Doctor Is In

March 10, 2015 • self-released

Inferni is back with a slightly different name and a much different sound; though I've covered this band before they deserve a revisit after putting out this new release. They've ditched the old acoustic pop melodies for something more on the post-punk / emocore side. It may be my own genre bias talking, but I think the change suits them really well and this EP is a really great listen.

I'd call the music on this EP some kind of emo, but there are a lot of different influences getting mashed together here to pin it down well. However there is a sort of minimalist approach here which works very effectively—only one guitar keeps things from getting to messy, and the vocals are sparse to both draw attention to the music when needed, and to have a healthy emotional impact. But my favorite thing about these songs is that they have hit on just some really awesome riffs; my favorite is probably the progression in "Ondine's Curse", there's some great interplay between the choppy guitar playing and smooth bass on that track (although the arpeggios and such in "Stockholm Syndrome" are up there as well).

Among these five tracks there isn't a single weak one, and I'm personally really happy with this release. Maybe we can see another EP or even a full-length sometime in the future? hmmm? Anyway, definitely give The Doctor Is In a try. Great stuff.

Prawn, Frameworks, Xerxes, Things Fall Apart, Reverse the Curse

May 5, 2015 • Ace of Cups, Columbus, Ohio

I guess I'm okay with the somewhat low amount of shows I've been to lately since they've all been so good. Tonight was no exception.

Reverse the Curse

This band's genre is really hard to pin down—I guess I'd call it some kind of atmospheric, super-textural post-punk or alternative rock, or something. Aside from the mumbly vocals, I actually liked them quite a bit. They make a nice opener, if nothing else: they're not too extreme but they put on a really good hard-hitting groove when they want.
6

Things Fall Apart

I have mixed feelings about this band. Their music sounded really familiar, but pparently I've never heard them before—I suppose they're just kind of generic (for lack of a less-derogatory word). They play standard modern screamo, and they do do a pretty good job at it although I can't say I was thrilled. Maybe it was due to the fact that the instrumental style was very "pretty" sounding, highly melodic and twinkly, so the screamed vocals didn't really jive well. Some bands pull it off but I don't think Things Fall Apart did. They must be doing something right, though, since they had the largest crowd of any other set (what's the deal with that?)
5

Xerxes

Like a moron I decided to take a slightly-longer-than-normal break before Xerxes' set, and I wish I hadn't. They were definitely one of the better sets of the night. Although they were also pretty straightforward screamo / emocore, they are definitely doing it right for a live setting. Very energetic and driving, melodic without being too sappy, and really great interplay between the bass and guitar. It's a shame their set was so short; they're definitely worth checking out if you get a chance.
8

Frameworks

It had been ages since I listened to these guys (okay, two years, but still) and I forgot how good they are. Their particular style of screamo is probably one of the better ones I've heard, at least in the studio, and they do work well on stage too. They're a bit too messy live to be appreciated on the same level as their studio work, but it was definitely good enough. Special mention to their adorable moment thanking Prawn (it was the last day of the tour) with a little gift bag.
7

Prawn

Like I said, last day of the tour, and if you didn't see them man oh man you missed out. Prawn has never even really been one of my top-favorite emo bands (though their albums are both really quite good), but live they knocked it out of the park. If you've heard them before there's isn't much to say about the musical side of their show (although thier drummer is pretty amazing, it turns out), but even music aside, their stage presence was amazing—lots of energy, genuinely having fun. I wish there had been more songs from the first album that I would have recognized, but oh well. Great stuff.
9

Dikembe – Mediumship

July 22, 2014 • Tiny Engines

For some reason I keep forgetting this band exists—even though they're easily one of my favorites of the new wave of midwest emo (despite being from Florida). I loved Chicago Bowls, and Broad Shoulders was just as good. But something happened after that and this, their second album, just isn't cutting it for me whatsoever.

The midwest emo sound is actually disappearing, being replaced with a bit more straightforward indie rock style (or even alternative rock, somehow). A few of the tracks on are a bit more on the soft, plodding, post-rock-ish side as well. Nothing atypical for this style of music, I suppose.

But going back and comparing this to Broad Shoulders, just two years earlier, it almost feels like a different band—or at least like something special has been lost. No more silly audio clips, everything feels a bit slower and flatter, and a little bit more generic; even the vocalist (when he doesn't sound like a different person entirely) sounds like he's falling asleep most of the time, when on previous songs he was quite energetic. It took until the eighth song, "Donuts in a Six Speed", to finally hear something like the band I was expecting.

I dunno; I guess the songs are still decent, but I can't help but feel massively disappointed. Hardly anything in ten whole tracks got me excited; I really wonder what happened to this once-great band. At least they still have one great EP and one great album to listen to regardless.

Everything Wilts, Arrows in Her, Gatherer, Fossil, Until We Are Ghosts

July 21, 2014 • Fairfield Christian Church, Baltimore, Ohio

Having a concert in a church was real weird. On one hand, the standing room was weirdly organized and it was a little cramped. On the other hand, it didn't smell awful and there were no annoying drunkards (in fact, everyone was really nice). Totally worth the half-hour drive out of town to check out some amazing bands.

Until We Are Ghosts

These guys have a metalcore sound to them, with a bit of modern hardcore punk and post-screamo thrown in. I'm not sure how I feel about their music in and of itself (it was a bit too much metalcore at times), but I can't deny that their performance was pretty impressive. Good technical skills, incredible passion for their craft (especially the vocalist), and a little showmanship. Good stuff.

Fossil

Leaning more towards the lighter post-hardcore side, with a heavy dose of standard screamo. While they certainly performed well, the songs themselves weren't terribly thrilling. Not that I found myself bored or anything, but there wasn't much about them that really set them apart. Nice to watch anyway, especially given the slightly silly dancing about. Fantastic drumming, too.

Gatherer

More traditional-type screamo plus post-hardcore with a very dark feel to it (at least, in comparison to the other bands). The rhythms were really good and they did switch up the formula quite a bit with lots of changeups and different styles (including a tiny bit of blasting). The set in general was great; very fun to watch. One to check out for sure.

Arrows in Her

I can die happy now. These guys have been a top band for me ever since Leaving came out almost two years ago. Since they haven't come up with much new material since then (though a full-length is apparently almost done) the set was packed full of amazing songs. I'm still impressed by the guitarist's ability to do those intricate clean riffs and sing at the same time. Gatherer's drummer filled in and he did a fantastic job as well. So glad they finally made it here.

Everything Wilts

Half of this band was in Maumelle, a crazy coincidence I didn't realize until the show was over. Anyway: pretty upbeat (almost pop-punk) screamo, the vocals are a bit too intense for the music (kinda like Maumelle). But the band was doing some pretty interesting stuff, with some good guitar effects and different textures going on. They've got a way to go, but it's a great start.

Lobby Boxer – Lobby Boxer

May 16, 2014 • self-released

I haven't written any new emo reviews in a while (okay, any reviews, for that matter), and since there have been a million of these bands crawling out of the woodwork there certainly hasn't been a shortage of good stuff to recommend.

Lobby Boxer takes the midwest-emo-revival sound and puts a slightly more aggressive pop-punk sound on top, a style which I've noticed is gaining a bit of traction lately. I won't say they do it the best of any band I've heard, but they definitely are doing it well. The songs have a very natural ebb and flow to them, back and forth from stomping start-stop rhythms to calmer introspective textures. And they can get heavy, too—that last track "Fragile Girl" is a real pounder. The level of dynamics is pretty impressive.

Special shout-out to the bass guitar player; there are some surprisingly detailed lines going on there that really help give the music a unique sound.

Anyway, yeah, another band to keep an eye on. Might as well give it a spin if it sounds even remotely interesting—hard to beat that download price.

Have Mercy, Pentimento, Gates, Head North, Vice on Victory, Absent Youth

July 14, 2014 • Double Happiness, Columbus, Ohio

Not my first time at Double Happiness, but my first time there for a concert. Definitely the smallest, most intimate show space I've been to that wasn't a house; turns out it's actually a pretty good venue.

Absent Youth

Since there were six bands and I wasn't totally sure what time they were starting, I wound up guessing a bit off and missed almost all of Absent Youth's set—all but one and a half songs. It's unfortunate because from what I did catch they seemed like they were pretty good; kind of your standard heavy-emo stuff I guess. I should look them up.

Vice on Victory

Definitely taking a solid pop-punk turn, though not in a bad way. Songs were pretty catchy with some cool breakdowns (surprising to me, but then again I don't really listen to much pop punk). Not exactly my kind of material, but they still seemed pretty talented and knew how to put on a good show.

Head North

The surprise of the night (there's always at least one, right?), these guys were phenomenal. Another pop punk band with a bit of emo influence and this really uplifting, feel-good aesthetic that was immediately infatuating. Cool stuff.

Gates

I got a real Appleseed Cast vibe from these guys, with a very droney, atmospheric, hypnotizing post-rock vibe. Usually I'm not really into the more post-rock-ish stuff but they do it well, and in the context of this show it was, if nothing else, a nice change of pace. They were great to listen to, too; it was all too easy to just get lost in the wall of sound and zone out. It felt like it was over too quickly, though.

Pentimento

More upbeat pop-punk sort of stuff; not a total mopefest but a bit of that melancholy influence in there. Nice, driving, rhythmic stuff with enough aggression and complexity to that you don't really notice it's pop punk.

Have Mercy

Wound up being way better than I imagined it would be. I guess it always helps my enjoyment of a show when I'm familiar with the material beforehand, and I had spent a lot of time listening to The Earth Pushed Back last year. I can say pretty confidently that the songs work better live, and that's saying something. Absolutely worth coming out for. And unlike a lot of successful bands, these guys were still very genuine and friendly and a joy to see play and talk to.

You Blew It! – Keep Doing What You're Doing

January 14, 2014 • Topshelf Records

You Blew It! has never really been my favorite of the modern emo revival bands; my opinion of their previous album was a bit middling though I was excited to hear this one. However, I'm not sure if I'm as excited as I was on the first listen, though the album is definitely far from bad.

Sonically, there's really not a lot to say about this release. Compared to Grow Up, Dude, the twinkly-midwest elements have been toned down a lot for more standard distorted-guitar rock riffing—with a few nice exceptions—though with a similar level of aggression (that is, not a whole lot of it). Still, there are some great catchy bits like "Gray Matter" and "Award of the Year Award", and a lot of nice uplifting moments like "House Address and "Rock Springs". Though it's not particularly unique, I think the change in sound suits them well enough.

On the other hand, I can't help but feel that this album seems like a product of a band just kind of going through the motions (just how significant is that album title, anyway?). Comparatively speaking, there doesn't seem to be as much emotion and passion going on... not so say there's none (the last two tracks are nice standouts), but sometimes the band just feels a bit flat. For example, I feel like "You & Me & Me" could have been a great song, but it sounds like everyone had just woken up when they recorded it.

Then again, I have been saturating myself with music like this lately (and so has the scene in general, as it's been taking off), so I don't want to entirely blame You Blew It! for my lukewarm reception. They do have the misfortune of releasing this at the same time a bunch of other great records are coming out (like the new Sport), for what that's worth. But I still think this album could have been better. Again—it's not bad, not at all. Let's hope it's a step towards something great.

Sport – Bon Voyage

January 1, 2014 • self-released

Midwest emo left its roots and crossed the Atlantic quite a few years ago, but it's still really cool to hear bands from other countries grabbing onto the style and playing it as if it were first nature. French band Sport's debut Colors is great but they're definitely hitting on something special with its followup. Bon Voyage is the first (and, so far, only) record from 2014 I've heard. If it's at all indicative of how this year is going to go for emo (let alone music in general), color me damn excited.

Sport does the genre in a fairly standard style but with a slightly harder edge to it—heavier post-hardcore-influenced drumming, lots of stop-start rhythms, strained gang vocals, a delicious grindy bass sound. There's a lot of different things going on to keep the sound fresh, too; just in "André the Giant" you have this fast screamo-style beat that shifts to this more introspective, tame sound. It all fits together quite well. Even the album's construction itself is a bit crazy as the songs flow right into each other and the passion with which they play barely lets up.

True, they aren't bringing anything fresh to the scene on this album. The slightly math-rock guitar lines and twinkly riffs and spastic arrangements are all nothing new. But the way Sport plays, the catchiness and the raw intensity and emotion, it all strikes that part of my brain in just the right way that sends shivers through me. The math-rock lines are moving and triumphant. Those twinkly riffs are so intricate and beautiful. It's full of those moments where something just clicks and I get enraptured and can't do anything but sit there and listen.

It goes to show how far this scene has come and how well it's been tweaked and refined over just the last couple of years into something than can consistently wow me. I don't really think this will be near my top albums of this upcoming year, but even if it did I wouldn't be mad.

You Blew It! – Grow Up, Dude

April 24, 2012 • Topshelf Records

Do I even need to review this one? Another midwest emo album (from Topshelf, of course); this one came out last year. Was there a chance it wouldn't be good? Okay, maybe a small chance, but it doesn't matter. If you're even remotely in love with this kind of music as I am, this is worth a spin.

The band names and song titles seem to get sillier and sillier, but the songs are just as good. It's twinkly, complex clean guitar verses typical to the genre, paired with slightly-more aggressive choruses reminiscent of some Japandroids moments. I even hear some glockenspiel in there on "Medal of Honor" (I think?); very cool. It's also helpful that the vocalist has a voice that is actually pretty nice to listen to—while I can appreciate the horrible out-of-tune vocals of some bands, it gets old after a while.

Admittedly, it doesn't have quite the staying power as a lot of similar recent albums—the tracks aren't really as memorable as Arrows in Her or Have Mercy or even Old Gray, but even the not-as-good ones have their merits (and don't go on too long as to be hard to listen to).

Anyway, there's plenty of great songs and an overall really good sound that mostly stands up with all the other great albums that I've been spinning lately.

7

Dirk Frazel – Randy's Bacon

June 17, 2013 • self-released

This blog is quickly becoming The Place For Reviews Of Emo Bands On Bandcamp. Not that I have a problem with that; more good stuff for me to listen to. Today's entry is ultra-DIY band Dirk Frazel, whose style is pretty typical emo, though it's quite good stuff.

These are catchy tunes; the band pulls out one or two neat rhythms and riffs in each song. There are some complex and interesting guitar lines, and the music is relatively aggressive compared to most "twinkly" stuff (probably due to the guitar distortion). The drumming is really neat as well—very expressive and interesting for this kind of music. My biggest problem with this EP is definitely the vocals, which are really poorly-done. On the other hand, you can't even hear them 90% of the time since they're so buried in the mix. (To me, this seems like a bad case of self-consciousness. Don't worry, you'll get better!)

All in all, a fun little release by a band that is showing some promise (as long as they smooth out those vocals). Here's to hoping we hear something new by them soon.

6

SRVVLST, Peace Be Still, Maumelle, Prize the Doubt

July 5, 2013 • The Summit, Columbus, Ohio

It was a bit weird to learn that The Summit is actually distinct from Café Bourbon St.—two equally tiny, grimy bars sharing the same building. Can't say it's not good for an emo show, though. While this was probably the lowest-attended show I've been to yet (top five, at least), I gotta say it was a pretty good time.

Prize the Doubt

These guys were really interesting for sure. It was a weird combination of dissonant screamo and hard-as-shit metalcore, with the occasional grindcore and post-rock segue thrown in. I thought they were too weird to enjoy at first, but they really grew on me during their set. Performance was middling, but the music was very neat. Worth seeing.
7 • Best Power Stances Award

Maumelle

I've got conflicting opinions on Maumelle. First off, the music is awesome—kind of typical midwest emo, with the stereotypical twinkly guitar (albeit very well-done, some really great licks) and excellent songwriting. The vocals seemed really out-of-place though, nothing but full-on screams the whole time; it was a weird juxtaposition that didn't make a lot of sense to me. It didn't bother me enough to not enjoy the hell out of the band, though.
7 • Best Mullet Award (aka Worst Mullet Award)

Peace Be Still

Even though Peace Be Still had probably the most generic sound of all the bands that played, they were still quite good in their own way. Horrible vocals, but in the satisfying emo way; well-played guitar and drums; above-average bass grooving (probably one of the better parts of their sound). I could have done without the between-song "stories" or whatever. Still, good stuff.
7 • Most Frequent Unnecessary Tuning Award

SRVVLST

These guys had a much more math-rock oriented sound, kind of like an emo Battles, with a similar focus on instrumentals instead of vocals. Lots of 5/8 time and things like that, which was a nice change of pace. The complexity made for a slightly sloppy performance, though, but I guess that is understandable. I did really enjoy how for their last song, they invited everyone up on stage (maybe a dozen of us) to watch. It was a very cool experience, definitely they show's highlight; made everything seem a lot more special. Recommended.
7 • Best Fingertapping Award

Prawn – You Can Just Leave It All

June 14, 2011 • Topshelf Records

If they keep making good emo revival albums, I'm gonna keep making reviews. Of course there is the issue of quickly running out of things to say when many of these albums are pretty similar, even if they're good, so I'm not entirely sure what to say about You Can Just Leave It All aside from... well, it's another pretty good emo revival album.

So there isn't a lot to say about their sound; Prawn mixes in that modern heavy post-rock style with complex, twinkly guitars and some highly melodic (but not terribly emotive) vocals. The writing itself is quite good, with very driving, purposeful melodies—few similar albums have such catchy songs to them, and most songs have at least one good hook that makes them stand out.

I am a bit disappointed that, aside from the superb guitar work, the rest of the instrumentation is a bit lackluster. It's neat to hear the occasional glockenspiel and stuff like that, but the bass and drums aren't nearly as exciting as they should be, and the guitar has to carry the whole thing. It makes the music feel a little one-dimensional, though the good songwriting and multiple guitar layers help make up for that.

And there is the unfortunate fact that Prawn has been overshadowed (in my mind) by quite a few other similar artists lately, so while I do think this album is pretty good, there are others that basically direct upgrades of this one. But I guess I'm not going to say no to more of a good thing.

7

Topbunk – Springlake Pharmacy

November 28, 2012 • Ex Novo Collective

No matter how much (or little) you are into a particular genre (or, heck, music in general), at no point should you stop and think to yourself, "Well, I have a couple of records I really like; seems like a pretty good canon, might as well stop here." Because you'll always be wrong.

Case in point: Topbunk's Springlake Pharmacy, which I was expecting to be just another nondescript amateur emo album. Well, it is a bit amateur, but really, isn't that true of all truly good emo? The band's sound leans a bit toward the indie-garage rock sound of bands like Japandroids, with strained vocals, gritty production, and simple arrangements. Of course, it's the songwriting which skyrockets Topbunk near the top of my list; even with such simple melodies (which can be considered maybe a bit cliché at this point), the band pulls it off really well. And even though the singer's voice cracks often, guitars are sometimes sloppily played, etc., it all gives the EP that charm it needs to still succeed.

Okay so maybe it's a bit of a niche release, and a lot of what I'm saying really is just stuff that appeals to me personally (well, obviously). But this band shows a lot of promise if they can keep up the momentum, and I'm happy to have discovered yet another modern emo band I can enjoy as much as I do.

7

Dios Trio – High on Bikes

September 20, 2011 • Well Weapon Records

Have I made it abundantly clear yet how great Bandcamp is? Better yet, Bandcamp recommendation threads? Anyway, someone threw Dios Trio out there—it's not often that I instantly love an album upon first listen (though that seems to be happening more often lately), but I was instantly taken with this one.

Of course it helps that High on Bikes was already right up my alley; it could be described as a simple fusion of indie emo's jangly clean guitars and slight punk aesthetic with the rhythmic complexity and occasional aggression of math rock, accomplished with some incredibly beautiful riffs and melodies. It imparts a sense of juvenile innocence and nostalgic happiness that I love in this kind of music (really, how can anyone not feel joy in the beginning of the title track?). Even the "Fast Car" cover, which may seem bizarre at first, fits perfectly in my mind as I've always secretly liked that song and it takes me back a bit.

The songwriting itself is a bit hyperactive, jumping from section to section rather haphazardly without much thought for structure, but then again I don't think the music really suffers for it, especially seeing as there are almost no vocals (and what vocals are present act as just another instrument). The composition style makes the music always have a sense of drive and movement, making the album's forty-minute runtime blink by. It feels half as short as it is, not that that's a bad thing. (It might also help that the music is awfully fast most of the time, almost impressively so.)

I don't know how appealing Dios Trio might be to the general crowd, but High on Bikes was an instant hit for me. The band doesn't seem to have been terribly active since its release—just a single last July—but I hope they get off their bikes and put something new out soon. Not that I'm dissatisfied with this album, of course!

8

Arrows in Her – Leaving.

September 9, 2012 • Glass Nail Records

I love Bandcamp more and more each day. Recently I was browsing along looking for some new emo to listen to and happened upon this tiny obscurity Arrows in Her, and have been totally blown away. They may be pretty traditional in their style, but they do it so incredibly well and I am in love with the result.

Basically, Arrows in Her straddles the gap between Snowing and American Football, or something like that—essentially indie rock with the obligatory strained and passionate vocals, beautifully sad melodies, and a slight punk aesthetic mixed with post-rock-like bridges. All the good stuff I like in emo. It's catchy, incredibly tense, chock full of one amazing riff after another, and cathartic as any other music like it.

The interesting thing is that there isn't a gimmick or anything that would make them immediately unique; they are just really good at songwriting. Leaving is one of the most consistent EPs I've heard quality-wise. Not a single one of the songs is bad, and each one has something about it—a particular hook or interlude or what have you—that makes it stand out. It's tough to even pick a favorite as each one is just as memorable as the rest (okay, fine, it's "Being and Nothingness").

I'm gonna stop gushing now, but really, this is practically flawless for a more or less brand-new band. I don't know how they did it, but their debut is just hitting all the right notes for me. I only hope they keep up the momentum if they put out some more material; in the meantime, I'm keeping Leaving on repeat.

8

Castevet – Summer Fences

September 6, 2009 • Count Your Lucky Stars Records

As I continue to happily delve into emo, I was surprised to find that there are good bands still putting out the good stuff in the late 2000s, while I'd thought the '90s were the genre's sole heyday. Castevet's Summer Fences is a great example of how the genre has been evolving and maturing, and is a fine listen to boot.

The band's sound features two interesting departures from the indie emo sound of the '90s: one, the occasional fusion with post-rock, and two, harsher, more guttural vocals. While the post-rock fusion works remarkably well (I'm honestly a bit surprised that I haven't heard more albums with that sort of sound), the vocals don't seem to fit very well. The music is pretty mild without any heavier riffing that such vocals would work with.

Regardless, the band more than makes up for it in their writing. Each song is chock full of great melodies and, while they don't quite up live to the standards of, say, Cap'n Jazz, but there are plenty of great moments. One in particular is the standout "I Know What a Lion Is" that has a really great post-rock bridge and buildup that is incredibly beautiful and fits in perfectly.

I'm still a bit too new to the genre to hail Castevet as a totally amazing and awesome band—for all I know this style has been done a thousand times and I just haven't heard those albums yet—but based on what I've heard so far they are definitely doing it right. For something a bit milder but still interesting, they are certainly a band to check out.

7

Rockets and Bluelights – A Smashed City with Flames and Music in the Air

2003 • Redder Records

I love finding lost little gems of music; it's one of my favorite things about diving deep into music. I don't know how obscure Rockets and Bluelights actually are, but their EP A Smashed City with Flames and Music in the Air is really satisfying my desire for more of the indie emo style I've recently come to love.

Granted, my enjoyment of this band is definitely a personal thing. They sound very much like a more mumbly-and-instrumental version of Cap'n Jazz, one of my all-time favorites, with a nice mix of heavy punk riffing and jangly clean guitars with hints of post-rock and math rock mixed in. If you know what Cap'n Jazz sounds like, Rockets and Bluelights are basically the same thing (though maybe a bit less heavy and a bit slower). (If you don't know what they sound like, why not?!)

Aside from sometimes being a bit hard to follow, the songwriting is practically perfect—I love just about everything every instrument does and it's put together really well. The bass guitar gets some great lines and even a faux-solo here and there, while the guitars play off each other perfectly and pull out some pretty complex melodies. There is also a bit of math rock influence with the occasional odd beat pattern, polyrhythm, or off-kilter drumline, which is really neat. There's just something about these riffs that gets to me... take the stop-start ending of "Andee"; it's just really good and I don't even know how to say why.

If I had to complain about anything, it would be that the production is a bit sloppy; sometimes instrument timing is off and the vocals are buried so deep that they're almost inaudible. There's nothing too special about the vocals, though, so it's not really a huge issue, but they still weren't given justice.

And of course it's too damn short! Yes, yes, it's an EP, and fifteen minutes is a good EP runtime, but it still begs to be listened to twice in a row because I'm never satisfied when it's over. And that's when you know you have something truly special on your hands.

8

Grown Ups – More Songs

May 18, 2010 • Topshelf Records

I was recommended Grown Ups as a way to help satiate my desire to hear more midwestern-style emo, a genre I'd been heavily getting into lately, and their first full-length More Songs turned out to be pretty good. Although its sound may seem a bit rehashed at first, the band brings a bit of its own flair to an old style with a lot of success and create a pretty good listen.

Normally I'd say that new midwest / indie emo would be a bit stale coming out in 2010 and it's true that a lot of Grown Ups' sound is heavily derivative from bands like Braid, Brand New, Owls, or The Appleseed Cast; punky songwriting with aggressive drums and vocals accompanied by mostly-clean twinkly guitars and some gang vocals: it's nothing we didn't hear fifteen years ago when this style was really taking off. But it is interesting to hear when the instrumental dynamic is a bit unexpected, such as a very fast, aggressive riff that has clean guitars playing along. It's unusual but it's a neat idea and usually works pretty well, even when there are shouted vocals and the bass has a bit of a distorted edge to it. This is especially interesting during the more pop-punk-sounding bits; it's just weird for me to hear such fast and heavy music played without distortion.

The album does get to dragging a bit, unfortunately; the songs are all very much the same and in the middle of it the album begins to stop being quite as attention-grabbing (not that it was much in the first place). It's unfortunate because they are playing a style I usually very much enjoy and don't mind listening to a lot of it at once, but here it would be nice to have a bit more variety. It doesn't help that the song structures seem very erratic and it's very hard to follow the music a lot of the time.

Regardless, this is still a pretty good album, although I don't think I'd personally recommend it to newcomers to the genre as it might be a bit difficult to get into (it took a couple listens for me). But they do play the genre well and are enjoyable for what it's worth.

6