The bands that filled out the lineup were a consistent mix of newer bands that have been defining the Warped Tour style for the past few years, like Real Friends and State Champs; the bands that define many of our nostalgic emo middle school experiences, such as Mayday Parade and Falling in Reverse; and classic groups that defined the Warped Tour sound from the beginning, like Simple Plan and Less Than Jake. As usual, Warped Tour had a very diverse lineup with something for everyone to enjoy.

Here’s my Top 5 performances:

1. Mayday Parade

It goes without saying that I am biased, as Mayday Parade is one of my favorite bands of all time. But Mayday Parade brought the same enthusiasm this year as they have been for so many. Mayday Parade is one of the bands, along with Falling In Reverse, that performed at the very first Warped Tour that I went to when I was 13, so there couldn’t have been a better way to end a festival so close to my heart.

2. Simple Plan

One of the defining artists for the brand of emo punk music that continues to unite multiple generations of festival-goers, Simple Plan’s set was fantastic. Highlights include: Pierre bringing out a giant water gun to cool off the crowd and jumping off stage to get right up against the barricade and really sing to his fans.

3. Issues

Issues is one of those bands that never seems to stop touring, and I mean that as a good thing. The beginning of 2018 started out on a rough note for the Atlanta, GA based band due to their separation from long-time co-vocalist Michael Bohn, but their performance this past week highlighted their passion to keep making the music that they want to make. Did I mention that Skyler’s hair is still the best hair on Warped Tour? Because it is.

4. Real Friends

Although their set was cut short because of the rain, Real Friends is one of those bands that’s newer to the scene but still killing it. This band is so fun-loving on stage, in contrast to a lot of their music. It’s always a treasure to see them perform. I also want to mention that frontman Dan Lambton comes into close second for best hair on Warped Tour.

5. Movements

Movements was one of the very first sets to perform on Thursday and even though they were performing at one of the hottest times of the day and before the rain clouds started to block the sun, they still brought it. Of this list, Movements is one of the bands I haven’t seen live before, but definitely hope to see again.

I’m very sad to see the end coming to Warped Tour’s 24-year run. Since 1995, Warped Tour has been providing an inexpensive, safe environment for teenagers to see their favorite bands every summer, all over the country. Whether this was the first year you were able to go, or you’ve been with it since your parents let you and remember the brief Warped Tour Roadies show on TV, it’s without question that Warped Tour is going to be missed. I’m not alone in hoping that one day Warped Tour will resume their cross-country lineup for another year, but until that day comes, thanks for all the best memories and for creating an environment that launched careers and inspired new festivals.

Make sure you check out our last post with our photo gallery of the tour.

The post Vans Warped Tour 2018 Review appeared first on SCAD Radio.

The first show at The House of Strut was on October 6^th, headlined by relatively newcomer band Solo Collective. They actually played a show the night before at T.J. Tavern that I couldn’t go see, as it was a 21 and older show. Unfortunately, the night got cut short because it rained. On the bright side though, House of Strut bounced back on the following Friday of the 13^th of October for their first annual Psychedelic Night.

Some of the bands that played are as followed:

Solo Collective: consists of Regan Slater on bass, Terrance Boston on drums, Garrett Albury on guitar and singer-songwriter/virtuoso Morgan Lewis.  The band got their start last spring, playing a unique blend of soul, indie rock and contemporary hip-hop, which affectionately coined “Alternative Soul-Hop.”

Ranging in very diverse influences such as Otis Redding, Chicago, Nat King Cole and Kendrick Lamar. Due to some inconsistent weather on Savannah’s part, the bands set ultimately got cut short, as well as having to remove their opening act, but they made most of the time they had and put on a killer show filled with consistent grooves and oozing with sexual charisma.  We all got wet, but hey the gig was a splash! Be sure to hit up the band on Facebook.

The Sound Experiment:  A six-piece group based on Tybee Island, the band comes from years of individual training in music.  Their music has roots in classic American jazz standards but throw in mixes classic rock, funk and fusion. Lead guitarist Alex Bazemore, jokingly described their sound as “Acid Jazz”, stating that “It’s all about intelligence and recognizing your own intelligence so you can choose what to abandon creatively.”

Sound Experiment’s stage presence was quite remarkable, within the first two minutes of their set they managed to get the crowd moving and grooving.  The band had a surprise guest and fellow local musician Max Crisbin who played drums so that drummer/vocalist Timmy Brown could let his voice ring.  Needless to say, Mr. Brown was an excellent front man who channeled bits Michael Buble and at times a rap delivery similar to Matt Schultz of Cage the Elephant.  The standout section of their set however was the challenging energy that horn players Jeremy and Noah Prince brought, akin to the playing of Lou Marini and Steve Madaio members of Stevie Wonders’ original brass section.  Overall, The Sound Experiment were a warm welcome into what was to be a night of great music, check them out on their social media pages.

Partials:  I knew this band were something special when they kicked off their set with a cover of LCD Soundsystem’s “Us V Them”.  I became absolutely entranced by their set, it was filled with standout dance numbers both originals and covers.  They hail all the way from Athens, Georgia. Their current incarnation has existed for a year, with a degree of lineup changes.  Their influences range from Blondie, Talking Heads, New Oder, Radiohead and primarily tip their hats to LCD Soundsystem. Guitarist Jeff Porter explained that they band’s mission was to trace dance music back to its roots in genres such as afrobeat.  Their stage show consisted of mostly synth driven EDM, accompanied by driving bass-lines and the occasional cowbell, because we all know that’s the way Will Ferrell likes it.  Singer Adriana has a hypnotic and angelic quality to her voice, I don’t think of heard anything quite like it before, simultaneously she adds flavor to the rhythm section via cowbells and bongos.  I think it’s fair to say that Partials had a majority of the crowd dancing during their 15-20-minute set as well as a sense of festivity in the crowd.  Partials are releasing an EP on January 26^th. In the meantime, you can monitor their activities on the bands official Facebook page.

Xulu Prophet:  These guys could be considered veterans of the current Savannah music scene. Bassist Oisin Daly explained that the local scene goes through change every four years, due to the nature of Savannah being a college town, “There’s at least an entire summer where we’ve been one of the only live groups.”

Daly, the band’s lead singer, and drummer Rhett Coleman were all accomplished musicians in their own respect but they officially came together in early 2013. Ever since then they’ve been working hard and touring around country playing some very intense but insightful shows.  Xulu Prophets play diverse range of punk rock, reggae, jazz and 70’s funk influenced, kind of like a trippy Rage Against The Machine.  The bands live set was nothing short of awesome, bringing with them a healthy dose of energy and heavy instrumentation, as well as Xulu himself commenting on the importance of live music saying, “It’s a unique experience where it can change mentalities and break boundaries.”

If Xulu Prophet sounds like a group that excites you, then be sure to give their Facebook page a like.

Kilroy Kobra: Initially starting out as a solo project written and composed by lead singer Thomas Uribe, they’ve now become fully fledged touring band. Probably the only group to explore a more theatrical aspect and that’s no coincidence, as Kilroy Kobra had recently completed shooting a short film called Man of the World, in which the group constructs a visual narrative using a few songs off their latest release. The band’s sound is electrifying, playing of mix of 90’s r&b, with funk and fuzz rock tones. Their also open to more traditional Americana influences like Bruce Springsteen and Bob Dylan. But during my discussions with the group they lamented on the fact of having to put a label on their music, in fact Keyboardist Josh Seckman jokingly described it as being GENRE-lized!  For them it doesn’t warrant the creative freedom that they’ve been working towards for the past year, but Kilroy Kobra seem determined to overcome that struggle in whatever way possible, personally I can’t wait to see what that looks like. These have an awesome EP and film out called Man of The World, so be sure to give it a listen (and a watch). Also don’t be stranger, send the band some love on social media!

The post Rocking the House…of Strut appeared first on SCAD Radio.

A Love Letter To You 2 is the musical sequel to his previous album, A Love Letter To You, which holds his classic songs “Love Scars”, “Poles” “1469”, and others that helped rocket him to stardom. A Love Letter To You 2 varies stylistically when compared to the previous album. It features more of a somber tone and cradles the theme of heartbreak in a more prominent way. Not just heartbreak, but also the worries of success and failure, as heard in the song “Deadman’s Wonderland”. Speaking of featuring, ANTi PoP who’s genre crossed pop punk/hip hop style voice compliments Trippe Redd’s beautifully. You also get to hear more of Trippie’s friends such as UnoTheActivist and Bali Baby who all give different twists to the songs.

Did this album stand up to what we expect of Trippie Redd himself? The album sticks to the themes of the previous of course, being a sequel album, but it also tries it’s hand at other experimentations. Songs like “Back of My Mind” has a very pop, almost bubble gum trap-vibe to it, which works surprisingly well. Trippie really does make music for himself, trying things that he wants to see work and make the best of what he and who he works with. So far, his melancholic r&b is working really well for him. I can very easily see him divulging into other styles of hip hop music because when you close your heart off to others, you may find yourself being open to more around you.

4 out of 5 Broken Hearts

The post Trippie Redd Comes Back 2 You With A New Album appeared first on SCAD Radio.

This review isn’t about General Admission, it’s about Bloom. However, I feel it’s important to discuss his second studio album (and remember all of his previous works), because in my opinion, Bloom is far different than what we would expect from MGK. We don’t hear the fast rap of “Alpha Omega.” We don’t hear the vulnerability of “Gone” or “Story of the Stairs.” I was expecting Kelly to dig deeper in relation to his last album. Instead, he switched gears. We hear a little of his high-register sound in Bloom. “The Gunner” is one of the best, having some resonance of “Alpha Omega” pairing elite lyrics with an elite beat. No other song compares to this one on the album in relation to that side of MGK. “Bad Things” competes for the top song, as Kelly duets with Camila Cabello to give a catchy modern love song, with the chorus based off of Fastball’s 1998 “Out of my Head.” This song is a radio hit, detailing sexually charged intimacy between two passionate people, lyrics that are laid over a sexy melody and beat.

There are many rappers who try to sing as well as rap on their tracks. Some succeed, most don’t. MGK has done a small amount of this before, but not to the amount we hear on Bloom. We first hear Kelly do this in “Go for Broke.” In my opinion, Kelly delivers decent vocals. He has a sense of pitch and it’s obvious that it’s his own voice, not the usual auto-tune that many rappers rely on. He continues this pattern throughout multiple tracks on the album, including “Kiss the Sky,” “Rehab,” and “Let You Go.” Because of this, and the introduction to more instrumentals—Kelly has taught himself guitar these past few years—it’s hard to categorize this album under one genre. This could be seen as refreshing or disappointing, depending on your personal music taste and whether or not you are comparing this to MGK’s previous works. In my opinion, Kelly may be letting down some fans by not keeping up with his unique flow, yet he could potentially appeal to a broader audience with this new sound.

Throughout this album, MGK takes a journey through descriptions of the fast life, partying too hard, love and loss of relationships, and his thoughts on success and how he got to where he is now. These topics are common, and I wish Kelly gave it all a little more time to really make each line and each song count. I feel as if he did so in General Admission. On the other hand, perhaps MGK is taking a completely new route with his sound, and this is just the beginning. “Let You Go” is something new from him, and if he continues to grow on sounds like that, he could be jumping to a new genre altogether. “27” is a strong way to end the album, with Kelly talking about proving the world wrong with his success, and having hopes that if he were to die young, that he would be remembered through his music. It is a powerful ending to a contemporary turn for Kelly, and although it may not be a growth when comparing to his well-known sound, it could be the birth of a new path for him as an artist.

My hopes are that he will create his next album not only with this new form that he is exploring, but also remember to take it back to his roots a bit more. I dig the crazy, high intensity MGK, and although that side of him was introduced in small amounts with Bloom, I would love to see him bring it back and merge it altogether for the next time around. Perhaps Bloom means a new era, and as an artist myself, I respect his exploration of new ideas, new sounds, and new art forms. I am eager to see what’s next for MGK.

3.5 out of 5 Bloom’s

The post Machine Gun Kelly Introduces a New Sound In His Third Studio Album, Bloom appeared first on SCAD Radio.

I first heard 2, Demarco’s aptly named second release, whilst in a friend’s bedroom back in 2014, late enough after the album’s 2012 release to cleanly shear any final threads of hipster credibility I may have had left. This fateful day launched a love affair with the Pepperoni Playboy that persists to this very day.

However, with every release following 2, I’ve found myself slowly growing disinterested in his work. With every single, every mini-LP, the clear formula to his tracks has become increasingly apparent, and the focus on his general aesthetic more pronounced. Now, it’s entirely possible that I’ve simply grown older, and slowly lost the certain brand of despondency that Demarco’s work truly resonates with. Regardless of whether or not this is true, it has always seemed to be generally agreed upon that Mac Demarco isn’t much one for pushing boundaries with each release.

What sonic development that has presented itself seems—to my ears at least—have mostly come from nicer recording spaces and technicians and some limited lineup changes. Most notable among these lineup changes is the departure of guitarist Peter Sagar, who is currently pursuing a solo career as Homeshake, a really fantastic slacker rock outfit that is definitely worth your time.

But what about This Old Dog? Does Demarco finally develop his sound into something new? In short, the answer is… kinda.

Starting with the big attention grabber regarding the new album, Demarco’s usual backing band is notably absent. Much of the instrumentation to Mac’s albums has always been at least somewhat provided by others, but this is no longer the case. Everything we hear on the album is Mac himself, using only a keyboard, drum machine, and his guitar.  This change certainly presents itself in the mix of the album.  In previous releases, the vocals found themselves nestled in a pocket of instrumentation, softly crooning out from beyond the droning guitar. This is no longer the case, however, as Demarco’s saccharine voice takes center stage this time around, mixed far in front of each track. This is especially noticeable in the softest tracks, with both “Sister” and “One More Love Song” serving as sleepy respites among an already gentle album.

Thematically speaking, the album isn’t exactly a far cry from the rest of Mac’s discography, but differences are still present. Previous releases have almost entirely focused on a young, passionate and somewhat goofy romance. Tracks like “Chamber of Reflection” or “Ode to Viceroy” always interrupted the love songs with brief moments of self-reflection. These reflective moments seem to be the focus this time around.

This Old Dog is about growing up, and really becoming the adult the world expects you to be. Tracks like “Wolf Who Wears Sheep’s Clothes” deal with the feelings of fake-ness that can come with adulthood, and “My Old Man” rationalizes Demarco’s feelings about seeing a lot of his father (absent for much of Mac’s childhood) within him, both very mature topics for the often times goofy rocker. Mac is getting older, and he knows he can’t remain the hopeless romantic of albums past.

That being said, while there are some noted and greatly appreciated departures from tradition, it never really goes far enough. While the ingredients have changed, Mac seems to be making the same meal. Hooks come right when you expect them, chords are hit the same as always, and Mac’s vocals are as monotone as ever. Demarco had a huge chance to really change it up this release, and it really seems like he only went halfway. All of the changes were so nice to hear, that it ends up being frustrating when there simply aren’t enough of them.

In summation, I like this album. I really do. It hits pretty close to home thematically and there’s a few tracks that I really enjoy. However, I like Mac Demarco. If you don’t, this album simply fails to innovate enough to really change your mind.

3.5 out of 5 Gap-Toothed Smiles

The post Mac Demarco’s This Old Dog is Fresh, But Not Fresh Enough appeared first on SCAD Radio.

The music video does a spectacular job at reinforcing that message. It features celebs from Irish radio hosts, to rugby stars, to Saoirse Ronan, a Brooklyn-native two-time Academy Award nominee.

The sixth track of Ed Sheeran’s ÷ (Divide), “Galway Girl” is an escapade through Galway, an Irish harbor city and a hub for pubs and live folk music, a major influence on his previous albums that lives again within this song.

The scenes are shot from Sheeran’s point of view as he runs throughout Galway with Ronan and a camera. It is charming from the start as he enters the first bar––O’Connors Pub in Salthill––and finds Ronan dancing with the pub regulars. It has a warm feeling of camaraderie with the added personal effects that arise from the filming style. And within a night of adventure there are always mishaps. After accidentally throwing a dart into the back of a man in the pub, they take to the streets.

The video was filmed in April causing a frenzy in Galway as fans saw Ed Sheeran and Saoirse Ronan running through the streets of their hometown. The two came upon some Irish street dancers who seemed quite surprised by their appearance. Ronan even joined them dancing. As they continued their venture through the streets, coming upon musicians and other locals, they took the time to stop, sign autographs and take photos. It was heart-warming and rang with honesty and joy.

In a funny scene which Ed Sheeran has commented on, “She really took the p*ss out of me,” they arrive at a tattoo parlor and Ronan writes “Galway Grill” on his arm before a tattoo artist inks over it. That is the name of a restaurant in Epcot Center that serves Guinness and potatoes, not the name of the song. The prank was taken in good taste and has become a story to tell.

They moved on to the last pub of the night where they took to dancing, drinking, and unfortunately running into the dart victim who unceremoniously punched Sheeran in the face as the bar watched on in shock. He gets knocked out and wakes up to Ronan in an attic apartment where they embrace and watch the sun rise over the ocean from the small balcony.

“Galway Girl” definitely shows Ireland’s city of Galway as a friendly, welcoming place. From an outsider’s perspective, it’s quite the enticing destination. Who’s to say? Maybe you’ll see a wild Ed Sheeran walking along the streets.

The post Ed Sheeran’s “Galway Girl” Music Video will Have You Running to Ireland appeared first on SCAD Radio.

Now, I could run through all 26 songs individually and talk about how they all have a stellar sound, but instead of that, I’ll simply go through the ones I feel are the strongest. Starting with “Ascension (feat. Vince Staples)”. Being one of the songs we were teased with a month prior to the release of the album, it gave us a good idea of the direction in which the album might be taking. It has such a nice flow to it with Vince Staples’s crisp but rough voice going with the vocal stylings of Gorillaz. Along with that, the backtrack is has a steady beat that is easy to follow. Those things, combined and a hook line of “The Sky is Falling Baby, Drop That Ass Fore’ It Crash” makes this song an instant banger.

Next on the album immediately following “Ascension” is “Stobelite (feat. Peven Everett)”. Now, this song is a complete 180 from the previous as it goes for a more soulful soft funk style. Don’t get me wrong though, it works just as well as the fast paced rap of “Ascension” with its own slower but solid rhythm. It essentially is something you can easily jam along to; at least that is what I found myself doing. Yet, as soon as I get into a groove the mood and sound changes with “Saturnz Barz (feat. Popcaan)”.

Another song that teased a month prior, this one became an immediate love for many and listening to it I have to agree. Like I said, it’s another one-eighty as we are suddenly dealing with hip-hop, dancehall, trip hop beats. With the dancehall vocals of Jamaican artist Popcaan, this song is possibly the best out of all the songs that I’m recommending. It has this sort of softness and trance like feel to it even though it does give off a sort of hard dancehall vibe. It’s simply a great song, that’s all I can say.

Speaking of dancehall/nightclub music, “Andromeda (feat. D.R.A.M.)” is in itself a good alternative dance song. Using elements of a song you would here in something like nineties discoteche, this song is very reminiscent of any Daft Punk song in terms of sound and use of synth. What makes this song so great though, is just the overall melody and vocals combined. It really gives that vibe that you’re in a club and are just jamming out to this on a dancefloor. It’s the kind of chill sound you need after all that bass heavy grooves you get before hand.

Next, we go to “Let Me Out (feat. Mavis Staples & Pusha T)”. This is another song that was teased at us and it’s just as good as the other rap pieces on the album, if not better. It contains a pretty basic rhythm, but what makes it great is how it uses that basic rhythm and builds on top of it with the added melodies, lyrics, and vocals. If anything I do wish it was higher on the setlist of songs; maybe after “Andromeda”.

Finally, we have “Out of Body (feat. Kilo Kish, Zebra Katz & Imani Vonsha)”. Out of all the songs on this album, this one I feel is the most out there. It has such a different sound and rhythm compared to others with this sort of electro house feel. Don’t be misconstrued, I totally love the song, it’s just different. The moment it begins and all the way to the ending you most likely will find yourself bouncing from the constant rhythm and the rap makes it even better in my opinion.

Now I’m aware this review may sound a bit biased because of my everlasting love of Gorillaz, but I would recommend listening to the album first hand and you’ll see that it actually is as good as I say it is. Granted, some songs are weaker than others, but even the weak songs are solid work.

The album as a whole seems very beat heavy and the sound and genre is constantly changing, but you can see how much collaboration Gorillaz ended up doing with the artists. It shows through in each song and really showcases the style well. So if you happen to be new to the band or a long time fan, you’ll definitely enjoy Humanz and after you’re done with that, go back to their older works and give them a listen for nostalgia.

4.5 out of 5 Creepy Floating Pizza Faces

The post Gorillaz’s Humanz is Worth the Wait appeared first on SCAD Radio.

A lot of artists these days are fascinated with creating 80’s inspired material.  Half of which is outstanding.  The other half is really bad Toto impersonations, which is more of a chore than it sounds.  The trick is to find ways to keep the sound fresh and contemporary.  If you can, you’ve the caught lightning in a bottle.  Phoenix’s latest single, “J-Boy,”  has managed something quite  extraordinary: not only is it modern, it still sounds like Phoenix.  Isn’t that bloody genius ?  (Oh, the French.)   Much like Phoenix’s  last effort, “J-BOY,” an acronym for Just Because of You, is incredibly composed of synths and  suave drum machines.  Where other artists might have a more mechanical result with such instruments in their arsenal,  these crafty gentleman worked hard to keep the sound fantasy-esque and decidedly romantic.   

“J-Boy” tells the story of a one-sided romance between a poor boy and a wealthy uptown girl, fitting the story of their new LP, Ti Amo, a pseudo-concept album set against the backdrop of a dystopian future in “Post-Romantic Italy.”  They’re French.  They can get away that sort of stuff.  (Sorry, not sorry Imagine Dragons.)  Frontman Thomas Mars’ vocal delivery, which  although appears to be laidback at certain points, finds its place above the instrumentation, a large part due to the production.  Overall, “J-BOY” is a lush, Summery, Pop tune that balances the fine line between obscurity and polished perfection, building excitement for the summer release of Ti Amo.

5 out of 5 stars

Phoenix’s LP Ti Amo is due June 9, 2017.

The post Phoenix Triumphantly Strikes Back with Groove-Driven New Single “J-BOY” appeared first on SCAD Radio.

Meat Loaf was born Marvin Lee Aday.  You may recognize him as Bob from Fight Club or Eddie from The Rocky Horror Picture Show.  And if you like Rocky Horror, then you’d love this album, because “Hot Patootie – Bless My Soul” sounds like it could come right form Bat Out of Hell.  Meat Loaf’s second album, Bat Out of Hell, was released in 1977.  It’s the first of a trilogy with Bat Out of Hell II: Back into Hell, and Bat Out of Hell III: The Monster is Loose following suit.  I promise, this isn’t Syfy’s latest horror trilogy.  With the songs by Jim Steinman and sung by Meat Loaf, the album grew from Steinman’s musical, Neverland, a futuristic retelling of Peter Pan. 

Bat Out of Hell

The first song off of the album, it was intended to be the world’s most extreme car crash song.  It begins with a young man who wants to leave a small town with his girlfriend, “Like a bat out hell, I’ll be gone when the morning comes,” but crashes before he can.  “Then I’m dying at the bottom of a pit in the blazing sun, torn and twisted at the foot of a burning bike.”  And while the lyrics may sound gruesome, the almost 10 minute long song feels huge, dramatic, theatrical, and wild.  With a motorcycle engine at the 6 minute mark and a crash at 7 minutes, the stage has been set: this album will feel like a vivid, wild and exciting movie.  By the end of the song, you’re drained.  But this is just the beginning.

You Took the Words Right Out of My Mouth (Hot Summer Night)

“You Took the Words Right Out of My Mouth” didn’t chart very high, mostly because of the introduction.  Beginning with a dramatic spoken intro, one man asks, “On a hot summer night, would you offer your throat to the wolf with red roses?” He and the woman speak of what sounds like a sacrifice, a thematic introduction to a song about a first kiss.  And once again, it’s a vivid story.  “We were lying together in a silver lining by the light of the moon.”  The chorus doesn’t leave your head.  I swear.  “You took the words right out of my moth, oh it must’ve been while you were kissing me,” just may be the sweetest thing I’ve heard about a first kiss.

Heaven Can Wait

Originally from the Jim Steinman’s Peter Pan musical, Neverland, “Heaven Can Wait” is easily the simplest song on the album.  As the third track on the album, it’s almost an intermission.  The song is just piano and vocals.  “Heaven can wait and all I got is time until the end of time.” It’s sweet and pretty.

All Revved Up with No Place to Go

Instead of young love, “All Revved Up” is more about young lust.  “I was nothing but a lonely boy looking out for something new.”  In typical Meat Loaf fashion the song’s fun with the piano and sax swinging through the stages of the song, picking up towards the end, rapid fire.  Then stopping, leaving suddenly, all revved up with no place to go.

Two Out of Three (Ain’t Bad)

While listening to this in the car, my mom said, “When Meat Loaf sings, you feel it.”  Every song off this album is theatrical, but none of them makes you feel the song’s pain like this one.  “I want you, I need you, but there ain’t no way I’m ever gonna love you.  Now don’t be sad, cause two out of three ain’t bad.”  While it may be my most common shower song—it’s great to belt out—it may be the saddest song off of the album.  Meat Loaf takes your hand and walks through someone’s break up with great emotional honesty.  “There ain’t no Coupe de Ville hidin’ at the bottom of a Cracker Jack box.”  And by the end, you learn about him.  You learn that those same words were told to him, and he’s been unable to love ever since.  It’s beautiful, sad, honest, and so much fun to sing.

Paradise By the Dashboard Light

This is the first Meat Loaf song I’ve ever heard.  And I was much too young to understand it.  I’d sing it with my mom in the car, ask her what it was about, and she’d fumble over her words, concluding I’ll know when I’m older.  But now I’m 22 years old, so it’s time.  “Paradise by the Dashboard Light” tells the tongue-in-cheek story of a couple’s first time.  “I never had a girl looking any better than you did, and all the kids at school, they were wishing they were me that night.”  The song bounces back between Meat Loaf and Ellen Foley, building and building to a baseball game at 4 minutes.  The announcer cries I think he’s going to make it!  And Ms. Foley shouts “Stop right there!”  It’s the most fun you’ll have the whole album: Ellen Foley asks if he loves her, to which Meat Loaf replies, “Let me sleep on it, I’ll give you an answer in the morning.”  The song builds and builds until he caves, “I’ll love you ’til the end of time.”  And now he’s praying for the end of time, because he’ll never break his promise or forget his vows.  “Paradise by the Dashboard Light” is a raucous good time.  Its wild, it’s theatrical, and it’s easily one of the best songs off of the album.

For Crying Out Loud

Jim Steinman’s favorite song off of the album, “For Crying Out Loud,” is about sex and love.  The most dramatic, with the greatest crescendo, “For Crying Out Loud,” is the perfect ending to the wild ride that is Bat Out of Hell.  Beginning with a simple piano, it builds to a full orchestra as Meat Loaf sings, “For crying out loud, you know I love you.”  It is the perfect balance of theatrics, honesty, and humor.  The song ebbs and flows throughout a hearty 8 minutes and 45 seconds.  By the end, you believe what Meat Loaf has been saying this whole time. 

Bat Out of Hell is an exciting, high-energy, wild ride.  It’s worth it to listen from start to finish without shuffle.  It’s great for singing in the shower, or road trips.  And while many of the songs near the 10 minute mark, there is no waisted time, no dull moment.  It’s a classic for a reason.

I have been saying for years that I want to see a Bat Out of Hell musical.  And when I say years, I really mean it.  I was singing “Paradise by the Dashboard Light” since fourth grade.  Now that there’s one opening at the Manchester Opera House April 29 and then moving to London in June, I’m going to start praying that it will come to Broadway.  (I mean, it has to.  I don’t know what I will do if it doesn’t.)  But since I’m not going to be able to fly out to England anytime soon, someone tell me how many American dollars £19.99 is, because I’m about to drop it on a hat.

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Over time, the band’s music has shifted from a ska and hardcore mixture to more traditional punk rock. However, Chris Cresswell’s distinctive vocals and frantic drumwork have always ensured that the band retained their edge and relentless high energy. The band looks to have shifted their sound even more with this latest album, moving towards a more commercial friendly alternative rock sound. Unfortunately, the result from the tweaks made to the sound is a disappointing mixed bag. 

The whole album has a sound that reeks of overproduction. The guitars are lacking the crusty punk distortion that the band became popular with and instead have an almost synth-like tone. Cresswell’s vocals are largely generic and watered down throughout the album. The vocalist sounds almost like someone trying to impersonate The Menzinger’s Greg Barnett or Manchester Orchestra’s Andy Hull. The band opted for simpler drum work instead of the high energy drumwork that drove the music in the past.

The LP comes off as a confusing mess that goes in several different directions, often without any reason or warning. There are jarring shifts from atmospheric and subdued instrumental sections into upbeat pop rock straight to driving punk guitar solos. While it sounds like it could work in theory, the execution here is lacking. A great example — or perhaps warning sign — is right at the onset of the album. The album starts with a doom metal-esque guitar riff that stops suddenly and then launches into a pop rock/pop punk music section.The album is lacking pace, and with some simple transitional instrumental work, like a drum fill or quick guitar/bass lick, the band’s shifts in sound throughout the album would be much more successful.

Despite these issues, there is certainly promise in the direction that The Flatliners have taken for this album. Individual parts of the album and songs are showing the potential that The Flatliners could have with this new sound. The album is littered with hints of their older material, and it is especially evident on “Nicotine Lips” and “Human Party Trick,” the two strongest tracks on the entire record. Cresswell’s vocals shine on these tracks and the music and riffs show some of the bite that existed throughout their previous work. There is some fantastic guitar work present from the very beginning on “Indoors” that works to elevate an otherwise forgettable song.

Most songs seem to hit their stride halfway through the song. A clear example of this is where “Unconditional Love” starts with a weak and simple opening, but then suddenly builds to a great soaring chorus and a fantastic bridge. But then, like the rest of the album, the song falls flat and all energy seems to drain right after the choruses and at the end of the song. Throughout the whole album, there are some fantastic builds but there are some abysmal openings and the energy of the songs is typically lost within seconds. The choruses on the song are consistently strong and carry the weight of the song in many cases, like with “Chameleon Skin”. The song goes nowhere for the majority of its 5 minute duration, but the chorus keeps it from being a complete waste of a track. It might overstay its welcome with its long length and mostly subdued sound but the rousing chorus is one of the most memorable parts of the entire album.

Inviting Light is not a terrible album. But at the same time, it’s not great or even good. The Flatliners’ latest effort falls into the category of painfully mediocre. There are some tracks that may be worth a second listen, namely “Nicotine Lips” and “Human Party Trick”, but the majority of the album falls into a boring mix of pop punk and alternative rock that is mostly forgettable. Perhaps diehard fans of pop punk, alternative rock, or Canadians bands should check out the album, but others should give the album a pass.

2 out of 5 angry ducks

For Fans of: The Menzingers, Bayside, Midtown
Best Track: “Human Party Trick”

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