The Used “Vulnerable” Review

The Used has always been the tale of two bands. The heavy, brutal band, and the pop rock band. Even on their self titled debut, there was the brutal “A Box Full Of Sharp Objects”, followed immediately by the soft and beautiful ballad “Blue and Yellow”. This is no different on their fifth official studio album, Vulnerable.

The album opens with “I Come Alive”, a fairly standard opening track that stays along the same heavy format as In Love And Death (“Take It Away”), Artwork (“Blood On My Hands”) and Lies For The Liars (“The Ripper”). “This Fire” follows with another heavy chorus full of Bert McCracken on the verge of tearing a vocal chord. Perhaps the strangest song comes in “Hands and Faces”, with a strange octave effect on Bert’s vocals during the verses. However, the chorus is a form of redemption bringing a radio radio melody into the mix.

After two excellent guitar works in “Put Me Out” and “Shine”, we move into the latter half of the album, where the pop/rock version comes out in full force. “Give Me Love”, “Moving On” and “Getting Over You” are the three pop songs that have the option to make the album a crossover success, but it likely won’t happen. In actuality, Vulnerable is the closest thing to In Love And Death, which was a major crossover success story. However, many fans of The Used were upset about that, and that’s probably why they haven’t done anything quite as soft since… until now.

Overall: 4.5/5 This album is nearly perfect. The only downfall of the album is the minute of unnecessary noise before “Now That You’re Dead”, an otherwise great song, and the somewhat dragging album closer “Together Burning Bright”. While a sweet sentiment, “We are only sparks, but together burning bright”, it can drag if you were into the heavier material. If you are a fan of The Used, get this album. If you liked their old stuff, get this album. I thought Artwork was their second best album behind their debut, but this probably takes the runner up position now.

Mayday Parade “Mayday Parade” Review

On their third full length album, Mayday Parade did something fairly new to the controversy riddled band. Their debut was written and recorded while Jason Lancaster was still in the band, but released after he left. Having written the majority of the album, most didn’t think Mayday Parade would last. On their second album, the band enlisted a slue of co-writers mostly known for penning pop hits. The album charted well, but was received with generally mixed reviews and the band was bashed by fans and critics alike for the co-writers.

This time around, Mayday Parade wrote the album by themselves. And in doing so, they returned to the form of their debut: dual vocals. Except this time, there is a trio. Derek Sanders keeps the title as lead vocalist, but throughout the course of the album, drummer Jake Bundrick and bassist Jeremy Lenzo are heard contributing their vocals. The contrast in voices isn’t as noticeable as it was with Lancaster, but it’s still a bit of a change of pace.

Another new thing for Mayday Parade is the guitar solos. The guitar work has improved ten fold from their previous albums. This could be due to their contribution to Punk Goes Classic Rock, where the band did a spot on rendition of Queen’s “We Are The Champions”. Having to imitate Brian May can be inspiration enough to attempt to do it on your own songs. Alex Garcia is no Brian May, but he’s accepting the spotlight on songs like “Happy Endings Are Just Stories That Haven’t Ended Yet” and “No Heroes Allowed”.

Major song highlights include “You’re Dead Wrong”, “Oh Well, Oh Well”, and “Stay”. Mayday Parade is an album full of pop songs with emo lyrics and pop punk attitude. This is nothing new, and closer to their sophomore effort Anywhere But Here than the band would lead you to believe, but it is enjoyable all the same.

Overall: 3.5/5 Very enjoyable album. Could be the album that breaks the band into the mainstream… which is a gift and a curse. If you enjoy the new genre emo-pop, check this album out and turn it to 11.

Taking Back Sunday “Self Titled” Review

Three albums and two guitar players separate the two albums that John Nolan and Shaun Cooper have been a part of for Taking Back Sunday. In 2002 Taking Back Sunday released Tell All Your Friends, but shortly after Cooper and Nolan split to form Straylight Run. They had one hit in “Existentialism on Prom Night”, while TBS went on to have multiple top 10 singles and sell over 1,000,000 albums to date. In 2010, Matt Fazzi and Matt Rubano were kicked out in favor of the returning Cooper and Nolan, thus bringing back the energy of Tell All Your Friends, only with maturity in the music.

This doesn’t sound like their debut, nor does it sound like Louder Now, Where You Want To Be, or New Again. Taking Back Sunday is it’s own album, with lyrical content similar to New Again, but music that could be considered a mix of all their albums. The energy of the original lineup is undeniable whether it be the heaviest song on the album “El Paso”, or the slow building, harmonic heavy, album closer “Call Me In The Morning”. New life has been breathed into TBS, even though I was saying the same thing on New Again.

Album highlights include “Faith (When I Let You Down)”, “This Is All Now”, “Sad Savior”, “El Paso” and “Call Me In The Morning”. The album is full of great songs, but these are the picks that could make former fans want to listen again. For some reason New Again made a lot of fans abandon TBS, even though it received great reviews and had tons of great material.

Overall: 4/5 Not their best album, but very enjoyable. I will confess I became a fan during Where You Want To Be when Fred Mascherino was in the band. And personally, New Again is my favorite album by them, even though the entire band hates it. It was lyrically their most emotional, thus relatable to the listener. Musically, I liked what Matt Fazzi brought to the table. On this, the guitar work is not as good as anything Fazzi or Mascherino brought to the band, but it doesn’t need to be. John Nolan doesn’t need to be Fred, because Fred was trying to be John Nolan. But I guess I will put it this way… Taking Back Sunday is new again in an old way that makes you want to play them louder now and it’s where they want to be, so tell all your friends.

Forever The Sickest Kids “Self Titled” Review

The last time we saw Forever The Sickest Kids they had plans of releasing 3 EPs called The Weekend. They released The Weekend: Friday, which was slick and catchy, but had more misses than hits. Meanwhile, their debut Underdog Alma Mater was catchy and full of pop punk gems. Fast forward to March 2011 and we are presented with Forever The Sickest Kids.

Lead single “Keep On Bringing Me Down” kicks off the album with energy and a slicker sound than on previous FTSK work. The multi vocalist approach, led by Jonathan Cook, sounds cohesive yet separate as ever, which could be a benefit of how clear everything sounds.

Some of the dance vibe that infested The Weekend: Friday is still here, most noticeably in “Life Of The Party”. It’s a pure dance/party song that has nothing but fun written all over it. The lyrics are a bit ridiculous at times, but it is fun nonetheless.

The few moments when the album doesn’t have a caffeine high are excellent. Just like “Coffee Break” on their debut, “Forever Girl” is an acoustic ballad that helps accentuate the finale, “What Happened To Emotion?” and it’s big choruses. “Bi-Polar Baby”, which one can’t help but think of Charlie Sheen’s “bi-winning” comment, is another “slower” song on the album.

Overall: 3.5/5 A well written and performed album. The mix is excellent and it’s just overall enjoyable. However, it is the same old stuff from FTSK. I am a fan, don’t get me wrong, but they have not challenged themselves musically yet. When you are complacent, you become forgettable. This could be the album that breaks them into the mainstream, but I’m just waiting for something outside the FTSK box. Then again, this is only their second full length release. If you are a fan of the band, or this style of music, I fully recommend this album. But if you’re looking for something new, unheard, and abstract… look elsewhere.