Originally Posted by The Batlord (Post 1350942)

How did I get two points this week? I didn't even post. :confused:

Originally Posted by Unknown Soldier (Post 1350925)

I'm in fourth spot and ahead of both The Batlord and Urban:pimp: but behind YorkeDaddy:( who the **** is YorkeDaddy!;)

btw Powerstars, a great design for the league table, blue is a nice colour for it.

Originally Posted by djchameleon (Post 1351022)

I really like the graphic that you used for the table design. Good job.

Originally Posted by The Batlord (Post 1351267)

Yeah, much better than Trollheart's.

http://24.media.tumblr.com/tumblr_ly...95k2o1_400.gif

Originally Posted by The Batlord (Post 1350942)

How did I get two points this week? I didn't even post. :confused:

Originally Posted by Mojo (Post 1351206)

I got a point as well and also didn't post. I don't know. Is it for views?

Originally Posted by Unknown Soldier (Post 1350925)

I'm in fourth spot and ahead of both The Batlord and Urban:pimp: but behind YorkeDaddy:( who the **** is YorkeDaddy!;)

btw Powerstars, a great design for the league table, blue is a nice colour for it.

Originally Posted by djchameleon (Post 1351022)

I really like the graphic that you used for the table design. Good job.

Originally Posted by Trollheart (Post 1351502)

I completely agree, as I already said. Graphics are not my strong point. That chart is the Caravaggio to my LS Lowry! I'm intrigued also as to how you're awarding points, PS. Oh, and you should definitely change your username to Pokerstars! :laughing:

Originally Posted by Powerstars (Post 1323739)

Review #007 - "Let It Be" by The Beatles

1970 was a hard year for The Beatles. Having just recorded and released Abbey Road after suffering through the hellish "Get Back" sessions, the band's future looked bleak. One thing was for sure: They had to call in someone to make something of the trainwreck that was the "Get Back" sessions. They called in Phil Spector, infamous for his "Wall Of Sound" approach.

When Paul McCartney first heard Spector's version of "The Long And Winding Road," he was furious. It went completely against the stripped-down sound that the original song, and album, for that matter, was supposed to have. He angrily called Spector and demanded that he change it back. He didn't. So, was this album any good? Or was it The Beatle's darkest hour. Let's find out.

1. Two Of Us
Opening with a bit of studio banter from John, this first song really has more of the "raw and real" feel than any other song on the album. McCartney wrote this, presumably about his wife at the time, Linda, though for whatever reason, John barged in one time and claimed he wrote it. A lot of fans interpret it as being about John and Paul, which is an easy assumption, they sing it together. Overall, a real solid track

2. Dig A Pony
Cool, groovy lil' track. The only new song that John wrote specifically for this album ("Across The Universe" was written 2 years prior, "One After 909" was written WAY back before the Beatles hit it big, John's part of "I've Got A Feeling" was also written 2 years prior), the track consist of word salad lyrics that Lennon later dismissed as garbage. Doesn't matter John, you may not like it, but this song is instrumentally tight and generally good.

3. Across The Universe
Now for a taste of the over-production. I feel this song is better when it's not orchestrated. John said that it was a lousy track...of a great song. This is one of his songs that he still loved late into his life. He just felt it hadn't been recorded properly. The guitars were out of tune, he said, and so was his voice. I personally still love it though, but I felt 2003's "Let It Be Naked" got the best take on the lousy take.

4. I Me Mine
Ah, George. Good ol' George. Great song, but once again plagued by overproduction. Not only is there an unneeded orchestra, but Phil Spector took the track and looped a section over again to make the song longer. YOU DON'T DO THAT TO THE BEATLES! THE BEATLES ARE SACRED! Still, one of the best songs on the album, and one of George's best cuts with the Beatles. While The Beatles considered it filler, George was smart enough to know it was good, and his autobiography, named after the song, proves that he retained a liking to it.

5. Dig It
This song just makes me feel sad whenever I listen to it. Not because it's a sad song or anything, but because of all the wasted potential. It was a jam session, that originally lasted 7 minutes. They actually went and recorded it again, which lasted 12 and a half minutes. On the original "Get Back" album it was supposed to be cut down to 5 minutes. We get 30 seconds of it here. Then, when "Let It Be Naked" was released, it was removed entirely. Why, Phil Spector? Why would you cut it down when it had so much potential?

6. Let It Be
The title track also suffers from overproduction with an unneeded orchestra. Still, it is one of the Beatles' signature songs, and easily recognizable.

7. Maggie Mae
More filler, although I can say at the very least that it wasn't cut down, just short to begin with. Come to think of it, why did Phil Spector make "I Me Mine" longer, only to include 2 short filler tunes. Back to the song, it's John and Paul running through an old Liverpool standard, nothing special.

8. I've Got A Feeling
My favorite song on the album, this is possibly the last time John and Paul wrote a song together. It is not plagued by overproduction, it just feels right. Combining John and Paul's concepts for songs in a perfect way, this song may be too perfect for any more words. Just listen to it now.

9. One After 909
An old Beatles number that they didn't think was good enough to include on any of their albums until this one. I disagree. It really showcases the Beatle's influences in the most Beatley way. Listening to the 1963 version on "Anthology," I can tell you that they reinvented this song. They made it so much better and it became something truly great. Paul remembers it as not a great song, but a great favorite of his.

10. The Long And Winding Road
Ugh! Phil Spector turned this jazzy tune into a more easy listening song. This is not a good thing. You can't ruin this song, but Phil Spector came close...and his version became the hit! Listening to the "Let It Be...Naked" version just kind of makes me angry at how he drowned out the original drums, guitar, and even McCartney's voice! The anthology version is also less easy listening, but more spacey and folkish, which is a really cool sound. I can see how Paul would've been mad with what he did to this version. It's a meh take on a stellar song.

11. For You Blue
Another song that Spector (thankfully) didn't try orchestrate. Bluesy tune, I was completely obsessed with it for a time. As George puts it, it's a simple 12-bar song. Simply, catchy, and damn good. I really love the lap steel solo by John.

12. Get Back
The original title track, Spector thankfully left this one pretty much as is, although I prefer the single version by a small margin. This one is a good note to end on though and overall, there wasn't much he could've done to ruin this song anyways.

Conclusion: Some songs suffer just a bit from Spectorization ("I Me Mine," "Across The Universe"), while others are drowning in it ("The Long And Winding Road"), while others yet suffer none at all ("Dig A Pony," "Get Back," etc.) It's a good album, but unbalanced and suffering bad production. Overall though, Phil Spector can decrease the quality, but he will never ruin the Beatles

Final Score: 78/100 (Go, Johnny, Go)

Originally Posted by Trollheart (Post 1353133)

After taking a break last week, The Batlord is back firing on all cylinders with three chapters of "The return of the Kings of Metal", so head on down to http://www.musicbanter.com/members-j...t-schemes.html and get reading! No poseurs need apply...

Originally Posted by The Batlord (Post 1353516)

Dude, it's only one chapter. There's a 20,000 character post limit, and the last chapter apparently went over 40,000 so I needed three posts just to upload it.

Originally Posted by Mondo Bungle (Post 1353204)

Forgive me for interrupting my list, but I'd like to post these couple passages that I wrote back in Reno, before I left. It was mid-late June when I wrote them.


We weren't even living in our new house for four months when I came home late one day to my dad sitting alone in the living room. "You'd better start packing your sh*t," he said, "we've got till the end of this week." Things haven't worked out in a while.

Lately life has been so stressful. I can't recall the last time I was truly happy or at ease. I've wanted to find solace in companionship, but my brain is forcing me to think that my friends don't want me around. I don't know how they feel about me sometimes. I've always felt removed from the group. I'd still like one more chance to hang out before I leave. After my overwhelming surge of emotion and loss of control last Saturday, (it may very well have been a mental breakdown) I've grown more and more depressed. I'm not looking forward to moving to a new town at all. My whole life is here.

I feel like I'm losing it. I can't sleep to well, my mood is shifting rapidly. Each day has been interweaved with moments of extreme depression, severe anxiety, and violent anger. I have no one to turn to. I'd wish to go back in time, but I'd always know that this is the future.

I was hoping for a better summer. WHY THE F*CK DOES SHI*T HAVE TO SUCK. maybe moving will be good, no one will know me in a new town.

I NEED DRUGS AND ALCOHOL F*CK DAMN IT F*CK.

People care more than I think...........why is my brain a piece of sh*t? why won't you let me be happy? Deep down somewhere I know that my friends care about me, but stupid things make you push those thoughts away.

I told a friend I would be leaving, and he said they all were gonna throw me a party

I knew my friends cared. I should try to understand that they all have jobs now, and I don't. But our little get together was fun. I was considerably more drunk the next morning though, after making like ten delicious vodka cranberries. I got a ride to my old house but my dad was at a storage unit. I misunderstood him on the phone since I was so drunk. We had to free buffet coupons, so we ate like kings that night, we probably wouldn't have much for a while afterwards.

I'm living in a garage, f*ck yeah! I haven't taken a shower in a week and a half, and I just can't get enough stale bread. THINGS ARE SOOOO GREAT. At least I'm leaving soon.

I'm leaving tomorrow, so today I went up to my friends' neighborhood for one last day. I took a shower first, because I desperately needed one. We just sat around talking that afternoon, I left before it got dark.


That's about as good a summary as the last two-ish weeks in Reno as any, but it was the week before where emotions really started to run high.

Originally Posted by Janszoon (Post 1251126)

http://img526.imageshack.us/img526/3019/b00002019sm.jpg


One night. Twelve hours. Twelve albums. One lonely, see-through bastard.

7:00 pm
Bud Powell—Time Waits: The Amazing Bud Powell (1958)

The invisible man sits at a table by himself, munching on a bread roll. He loves this restaurant—the godfather booths, the mood lighting, the jazz on the speakers—the whole kit and caboodle just has such fantastic ambiance. Normally just being here makes him feel mellow and content, but tonight he's feeling kind of anxious, worrying if his date is going to show up. She's almost forty-five minutes late and he's starting to wonder if he's been stood up, or for that matter, if she even knew they were supposed to meet in the first place. It wouldn't be the first time that's happened—meeting someone he likes at a party only to discover later that she had mistaken him for a coat hanging on a door and assumed she was talking to the cute guy standing nearby in line for the bathroom. He's not generally a morose sort of person, he usually tries to see the bright side of things, but it's moments like this when his condition definitely feels like a burden. He slouches down in his chair and tries to immerse himself in the sounds of the bebop album that fills the air around him, Time Waits: The Amazing Bud Powell.

Like our transparent friend sitting alone in the the restaurant, this album is generally upbeat but with a depressive undercurrent running throughout that it fights very hard against. It opens with the latin-esque "Buster Rides Again", which is one of those swinging, upbeat songs where it's almost impossible to keep your body from moving while listening to it, due in a large part to the interplay between Powell's rhythmic keys and the shapeshifting patterns of drummer Philly Joe Jones. The second track, "Sub City" is a little more mellow, but still a toe-tapping bebop classic, with somebody, probably Powell, off-mic scatting nonsense along with the melody. It's not until track number three, the title track, that the album slumps down into melancholy. Sure it tries to sound simply relaxed, but the subtly dissonant, off-kilter piano staggers reveal a heart that belongs more to the sad sack passed out at the bar than the hipster smoking a cigarette by the stage. Once revealed, the sullen soul of this album can't hide itself despite it's best stabs at being cheery. On the subsequent tracks, "Marmelade", "Monopoly" and "John's Abbey", for example, the tunes pump along in groovy bop fashion, but those off-mic vocals show up again, sounding less like scatting and more like a testy drunk arguing with himself in an alley. Beyond that, on the last of those three, the entire piece feels like it's teetering on the verge of mania. On the one hand it's straight-up bebop, but on the other, like a lot of classic bop, its formalism barely able to contain itself within a mechanism that's flying out of control. In the end, the album turns introspective again with "Dry Soul", another late night rambler that sounds anything but dry.

The despondency that seeps in around the edges of this album is unfortunately no surprise. It was recorded late in Powell's career, when his alcoholism and personal baggage were just on the verge of obliterating his talent. His brother had died less than two years before, in the same Pennsylvania car wreck that killed legendary jazz trumpeter Clifford Brown, but even before that Powell was not the most stable of characters. He was abnormally sensitive to the effects of alcohol and sadly also came to be dependent on it. He spent several years of his life in mental institutions, overmedicated and subjected to electroshock therapy. The result was a shattered man. A genius on par with Charlie Parker and Thelonious Monk, but one who was so tragically broken that in end he died young—only eight years after this album—of tuberculosis, alcoholism and malnutrition, no longer even able to play piano like he used to.

Originally Posted by Trollheart (Post 1355922)

"The return of the Kings of Metal" is coming close to a climax (oh he'd just love that, wouldn't he? Sexual innuendo in the review of his journal!) so if you're not up to speed on The Batlord's inspired writing yet then get on down to http://www.musicbanter.com/members-j...t-schemes.html and breathe it in, people!

Originally Posted by Burning Down (Post 1357718)

So Trollheart's not doing the league table anymore either?

Originally Posted by Trollheart (Post 1357804)

Sorry to hear that, Power me old mate, but as I said myself it's a massive committment, the moreso the way I was doing it, and when you have pretty much lukewarm response from people it becomes a question, unfortunately, of why bother? If people had loved the idea and been more engaged with the table I would have maybe kept going, but other than The Batlord, yourself and one or two other people nobody was interested, not even Screen13 who occupied the top spot for the entire tenure of my running of the table.

When it comes down to it, it's just too much work for no reward, and we all have better things to do. The final conclusion is that the only people really invested in the table are/were those who are/were compiling it, so it's just not worth all the hassle.

Sorry you didn't make it, but it really is a massive job isn't it? Fair play to you for trying though: at least now I know it wasn't just my innate wimpiness that stopped me. As Homer says: "You tried and you failed miserably. The lesson here is, never try." ;)

Originally Posted by FETCHER. (Post 751880)

How to describe this album? Well in all honesty. It blew me away. Its everything i ever wanted as a massive electronica fan. Seriously.
At first i doubted it, it looks like a typical common Ibiza complication, but its so so much more.
what i find most facinating is the fact that i never knew most artists (still dont) but knew almost every song.
when i listen to an album, i judge it on how it makes me feel.
this album in particular makes me feel, excited, wanting to dance. its almost like a cliff hanger, but in music.
its undescribable! it leaves me wanting to hear more.
the sounds of it are almost hypnotic.
the thing i like most about these three :love:
William Orbit - Adagio For Strings (Ferry Corsten Remix)
Wow. Thats what. Ferry Corsten has taken William Orbits tune, and gave it some kind of twist that makes it sound totally amence.
it starts off slow and peacful, then builds up to a small backbeat sort of which is kind of electronic, it just keeps on building up and building up with all the electronic sounds, and turns into a repetitive tune, which never fails to make me want to dance like a complete idiot. this song doesnt have any vocals either, the vocals would drown out that amazing sound! i feel at the end. it just ends. which is the only thing i can pick on, Ferry needs a good anticlimax in there to leave people basically begging for more. Also, this version kicks Tiesto's danish ass.
Push - Strange World (Airwave Remix)
is the fact that its made entirely of a chillout, relaxing sound. with lots of buildups and anti climax's. which i like ;) this song doesnt have any vocals. im my opinion vocals would ruin it entitrely. well it kind of has these streched out deep "oooooh" 's through some parts. i dont really know how i feel about them or how to describe them. with all this combined the song is somewhat simple.. peaceful.. and simply amazing!
John O'Callaghan Ft Sarah Howells - Find Yourself
quoting myself on the first time i heard this "Awwwww Wit!"
a popular Scottish term which means to me, "that is fucking amazing!"
the start i admit is pretty low, yet fast, somewhat depressing beat.
then Sarah Howells vocals start, what a voice, sooo soothing/calming. i think she has been monitoring my life somehow. some parts describe me, then again, others don't.
After her vocals start the beat brightens up gradually, then at parts when shes singing, it beat drops right down, quietens.. and then goes with the context of the lyrics

Drawn into the backdrop here
you could fade, you could fade away
bright lights on a starless night
burn a hole in the dying day

Looking at life through a loaded gun
take your best shot, aim it at the sun
looking at life through a loaded gun
you know you'll find...

you'll find yourself, you'll find yourself alone
you'll find yourself, you'll find yourself alone
you'll find yourself, you'll find yourself alone
you'll find yourself, you'll find yourself alone

at the first stanza/paragraph/thingy, the beats rhythemical, it sounds basically like the only beat that exists, when im sure theres a small quiet natural beat kicking about, i concentrated so hard on it, im not sure if im imagining stuff or what :(. in the "You'll find yourself, you'll find yourself alone" part its a happy bouncing beat that exists amounst it, which i find ironic (right context?) as its a negative expression.

any thoughts, questions (: ?

Originally Posted by Ki (Post 1359135)

It is funny that you mention your heartbreak section because when I posted the introduction to that sort of section to my journal, I then went and read your journal entries only to stumble upon what was the same concept. I had not known that prior to making it a part of my journal. Great minds think alike I suppose.

Originally Posted by Trollheart (Post 1359595)

Yes indeed. It's like we're finishing each other's...

Originally Posted by Trollheart (Post 1359761)

I was going to say sandwiches....

Originally Posted by Urban Hat€monger ? (Post 702910)

http://i94.photobucket.com/albums/l99/urbanH/310476.jpg
Psychic TV - N.Y. Scum

This album consists of two songs both of approx 15 minutes each. Here's a brief description of each song.

N.Y. Scum - For the first 5 minutes some guy rips as much feedback out of his guitar as he can manage while being backed by a bunch of Hare Krishna's on percussion, all the while a drunk couple has a domestic argument. For the next 5 minutes said drunk guy decides to meditate while still shouting for his best mate (Possibly). Then the guitarist returns with a drummer and the two of them alone with the drunk guy attempts some lo-lo-lo-lo-lo-lo-fi Joy Division / White Stripes hybrid garage rock. The final 2 minutes drunk guy attempts to make a techno record.

Haters - What remnants of a song there is here is quickly forgotten about after just a couple of minutes as the song decends into some random shouting & howling feedback.

In a word ... Brilliant.

Boo Boo would shit himself listening to this

Rating 5/5 Soiled Pants
http://i94.photobucket.com/albums/l99/urbanH/pants.jpg

Originally Posted by YorkeDaddy (Post 1345650)

Entry 4: Character Development (Tracks 1-3)


Ok, so now you've got the lowdown on where we're coming from, our direction, and the style in which we create our work. Now it's time to dive head-first into the songs themselves! In this entry, the first three songs will observed from conception to recording, with analysis and explanation with respect to the whole album.

As we explained earlier, the first three tracks were as far as the initial planning really went; we needed an attention-getting first track that introduces the protagonist (who is still part of the 'system'), a track in which he becomes aware, and a track that introduces the regime itself. I guess the best place to start is at the first track, so that's where we'll begin!

1. The Fire This Time

Since we knew our biggest literary inspiration would ultimately be '1984,’ we wanted to start off with a tribute to something else. What better for a fiery first track than the cynical 'Fahrenheit 451' for inspiration? The auditory opportunities of depicting the novel's frightening book-burning were too vivid in my mind to pass up. However, the exact nature (or genre) of this depiction was subject to several changes! Prepare yourself for one of the longer song descriptions we'll write!

For a long time I messed around with slap bass licks, trying to find something that would represent the searing swagger of the novel's peace-keeping fire squad. I came up with a couple decent riffs, but it just wasn't feeling right. And, there was the problem that transitioning funky instrumental sections into the indie/alternative verses we would inevitably write might be a disastrous clash of genres! So it was back to the drawing board.

We refused to surrender this song to our niche of dark and pretty indie pop; we wanted to start off with a bang! So I turned to a classic rock/indie mix. The ambitious major chords were powerful enough, I thought, and they offered a better transition to the verses. It was during this period that those verses were actually written: a swooping melody that builds in drama over a chord progression hanging between C major and A harmonic minor. But ultimately the classic intro felt too generic and safe for us. We continued on the search for the appropriate attention-grabbing riff.

The whole time the lyrics were coming along in little chunks, revealing themselves to me in random and spontaneous bursts. They were inspired by, but not derivatives or references to, Bradbury's novel; the perfect balance. The name of the song was also chosen, 'The Fire This Time,' referencing the flames of the novel, as well as an inside joke from my year at Purdue and dealings with a certain organization (but THAT is another story).

The third musical incarnation of the song was the most breathtaking and long-lived. It was a pulsating and driving orchestral attack, created over hours of recording with keyboards and dozens of instrument settings, exact mixing (including panning each instrument to the seating arrangement of an orchestra), and the sound of flames. This neo-classical onslaught was very impressive, but began to bug us as we continued the album. Unfortunately it began to sound more and more absurd when compared to the heartfelt and simple arrangements of some other tracks. In the vein of true artists striving for perfection, we eventually scrapped the style and started again.

Fortunately the fourth version would be the final version. Wanting to keep some of the musical ideas from the orchestral arrangement, we sat down with electric guitars and banged it out. Keeping the same key and notes, but adding syncopation and rhythmic crunch (and a healthy dose of agile synth lead) we created a unique brand of indie pop/rock/dance that hard-presses the listener to avoid bobbing his or her head. We finally knew that we had it, and the slight irritation that the first track did not fit in with the rest disappeared.

2. One Private Moment

As soon as the upbeat and gripping first track ends and the protagonist quits singing about his job with the firemen, something happens. He sees a face, he hears a voice, he suddenly sees things in a new way, for a moment. Something has shaken his rusty heart, and knocked just a little bit of that rust off. As the post-track chaos of air-raid sirens and marching softens into a stately, muted guitar acoustic guitar riff, everything is different.

This track is mostly the work of Bryan; simple acoustic guitar arpeggiation that parallels the simplistic sentiment of the song. The exact tone of the instrument is something perhaps never heard before, as a bizarre combination of factors led up to its sound. It is a muted and thumpy, but very clear tone, and this is a result of the guitar on which it was played. It is the only track on which Bryan's acoustic/electric was used. However, much to my initial irritation, the instrument was strung with years-old strings when we began recording, resulting in a completely dead, floppy sound (the sound that you'll hear on the recording), but with surprising clarity due to the fact that the instrument was plugged in directly.

My contributions include changing the arrangement and adding the first couple of lines to better form the transition from the first track. This track truly feels like the scribblings of a frightened dissenter in a secret diary; it is the same voice as the first track that sings the lines, but with a complete change of emotion.

By the time the track (in typical Bryan fashion) transitions from the interesting verse to the refrain-like coda, the protagonist has made up his mind. He has not decided what action needs to be taken; nothing that major. He's come to a conclusion about something much simpler: he actually feels something, and he refuses to let go of it.

3. Welcome To The Party

So far all we know about the world this album depicts is from the thoughts of the protagonist. It is the job of the third track to be the first time we hear from the other side, the oppressive entity. When brainstorming for this song, we drew a lot of inspiration from ‘1984’ and its infamous ‘party.’ Then the thought hit us: Why not make a double edged song about both the Orwellian regime and a raucous late-night get-together? And on top of that make it in the style of an ominous indie-disco/dance tune? And on top of that, name it ‘Welcome To The Party,’ a painfully ironic dose of wordplay? The prospect of such supreme irony and room for pushing the genre boundary was exciting to us, so we went for it!

As per the character distinction of the album, this song demanded we further experiment and sing it through a creepy vocoder. The result is a song that could easily be very catchy if it didn’t have a strong sense of unease about it. The chirpy syncopated guitar backs the cold voice as it beckons the listener in, leading the ear eventually to a burgeoning synth solo (an instrument that begins to become apparent as a symbol of evil), all backed by a haunting ambient track created by Bryan that only adds to the uneasy feeling of the song.

With an infectious breakdown and some more repetitions of the chorus, our four minute glimpse into the inside of the ‘enemy’ is at its end and the listener gets to hear how the mental state of the protagonist is developing with the next track, a pretty little piece that Bryan will tell you all about in the next entry!

Stay tuned for more; we update twice a week. Also, feel very free to leave your thoughts and feedback and tell us which songs (if any) you most excited about hearing! A mid-August release is probable; we hope some of you are looking forward to it half as much as we are!

Originally Posted by Trollheart (Post 1363605)

I'm not going to castigate anyone about not updating their journal this week, as I'm guilty of the same crime myself. But I hope to address this in the coming week. Hope all of you who have neglected your journals will do the same, otherwise we're leaving it all to these guys...

Originally Posted by Trollheart (Post 1364308)

Originally Posted by Trollheart (Post 1364308)

Originally Posted by Ki (Post 1365440)

http://upload.wikimedia.org/wikipedi...emperCover.jpg

I believe it is time to review an album that just about made me cringe in how terrible it was. Bullet For My Valentine's Temper Temper. I know there's a lot of people out there that will say something like..."were you really expecting something good?". In my defense, I found their three previous albums to be a touch above decent, but this one...this one just makes me wonder what the hell they were trying to accomplish, however that would make one assume that they were actually trying. It seriously lacks in everything that would even allow me to consider it a worthy album worth listening to. The guitarist uses cliche guitar solos and the typical metalcore guitar sounds that one would expect to hear from a band like Bring Me The Horizon, at least they admit to being a part of the genre so it's okay. Lyrically, I don't even want to talk about it but I will only to further my point in how bad I thought this was. For example...taken from the chorus of Dead To The World:

"Lost without hope
Hope is now lost"

http://themidnightalliance.files.wor...little-bit.gif

Need I say more? Like...really? You're going to start the chorus by just reversing what you said in the first line? Not even that, but the way it's delivered just makes me cringe every time, and of course the rest of the chorus goes as follows:

"As I hang on for one more tomorrow
Hearts turned to black
I'm not coming back
I know I can't last
'Cause I feel like I'm dead to the world"

This chorus seems like it was taken directly from the mind of some pre pubescent child who is now discovering that he might be emo, and poetry is his way of expressing that interest.

I was really hoping for something at least halfway decent mostly because I found Temper Temper (single) to be pretty damn good. I liked it, and it showed potential for a pretty fun album, but when the album was released, I immediately commented by saying that I was very happy to have gotten the album for free, or else I would have demanded to get my money back. I'd had rather bought a lifetime supply of trash than to support the band for this album. I know that may seem a bit harsh, but if you've listened to this album fully, you'll understand that it's not too unreal to think such things.

There's not much more to say. The only way you should listen to this album, is for free. Don't even bother trying to support the band for it.

Originally Posted by Unknown Soldier (Post 1366667)

You forgot to update my journal properly:finger: