The Indie Review

By Sean Duregger
May 17, 2008

Artist: Phantom Planet
Album: Raise the Dead
Label: Fueled by Ramen

Rating:

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With 3 Major Label full length releases under their belts, Phantom Planet finds themselves on pseudo-Indie label Fueled by Ramen for their most recent release. Known for consistently strong albums, Phantom Planet have outdone themselves with this new installment, Raise the Dead.

Combining the raw Rock approach of their last Self Titled album, and the poppiness of The Guest and Phantom Planet is Missing, Raise the Dead hit all the right marks and feels both familiar and fresh. Phantom Planet have shown that they can mature without changing their sound dramatically.

Musically, most every song is a gem here. There seems to be a lot of thought and care to produce an album with as little filler as possible. Each song has it’s strong points and makes Raise the Dead will be the first Phantom Planet album to get repeat visits from me. Alex Greenwald’s vocals have never been better and he shows more range and diversity than ever before. Jeff Conrad shows that Jason Schwartzman is a better actor than drummer. The drums on this album are head and shoulders above all previous albums (Jeff replaced Jason halfway through recording the Self Titled album). Sam Farrar and Darren Robinson both deliver on the bass, guitar and also contribute with some great background vocals.

If you’ve shrugged Phantom Planet off in the past, Raise the Dead gives you a reason to check them out. Phantom Planet have not only showed staying power with this being their 4th studio album, but they’ve also shown us they have a lot great tunes left in them.

Stand Out Tracks:

“Raise The Dead”

“Do The Panic”

“Dropped”

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 IndieUprising #40: Play Now | Play in Popup | Download (580)

Music By: Socratic. Pride Before The Fall. Polar Bear Club. Phantom Planet. Sera Cahoone. Brass. Steraon. The Cab. Pluto Revolts. Falco Does It Dirty. Incommunicado. Nothing Less. Oso Optimo. Pomegranates.

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Fueled By Ramen has a lot going on these days. Here’s the scoop:

• Cute Is What We Aim For’s upcoming album Rotation is due in stores June 24th. Hear their first single “Practice Makes Perfect” at their official MySpace page.
• Panic At The Disco will be performing ‘Nine In The Afternoon’ this Thursday on The Late Show with David Letterman. Make sure to check your local listings and tune in.
• Cobra Starship are on the cover of the latest issue of Alternative Press Magazine, on newsstands this Thursday!

Next week Phantom Planet and The Cab will be featured on IndieUprising Podcast #40. Tune in!

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The Indie Review

By Sean Duregger
April 24, 2008

Artist: Panic at the Disco
Album: Pretty. Odd.
Label: Fueled By Ramen/Decaydance
Rating:

I’ve always been one to encourage bands and artists to push themselves and to always try new things. Sometimes something really amazing happens leaving a lasting imprint on a generation; however, sometimes the risk falls flat and becomes utterly forgettable. The Beatles left a creative mark on music history with Sgt. Pepper’s Lonely Hearts Club Band (Their 8th Studio Album). Panic at the Disco, however, decided to use the Sgt. Pepper formula on their SECOND studio album, Pretty. Odd. Leaving fans of their first release, A Fever You Can’t Sweat Out, scratching their heads and wondering where the band they fell in love with went. Great production, great musicianship, and great vocals do not necessarily mean a great album. Something is missing from Pretty. Odd. making it Pretty. Forgettable.

It’s easy to respect what Panic at the Disco are doing here. They obviously were burnt out on their old songs and sound so they wanted to move in a different direction. However, the blatant Beatles/Folk influence is what makes this such an uneventful album. There is nothing new here. If you pool together all your parents old LPs from the Early to Mid 70s, this is pretty much what you will hear. While this is an interesting direction for a band today to move to, this makes Pretty. Odd. a slightly boring listen. Nothing really demands attention here, and every song (with the exception of a couple tracks) falls completely flat and has no where to go.

There is something to be said about the production, though. It is absolutely phenomenal. The use of strings, piano, horns and many more instruments requires a lot of talent to arrange and isn’t just tacked on to make these songs sound fuller or more complex. Vocals, also are well thought out and Brendon’s voice has improved since A Fever You Can’t Sweat Out.

While there are some positives to Pretty. Odd. there just isn’t the innovation and energy most people fell in love with in A Fever You Can’t Sweat Out. Pretty. Odd. just exists as a love letter to The Beatles while letting us know that Panic at the Disco is still around. Hopefully their next album will dig them out of this Pretty. Boring. sophomore slump.

Stand Out Tracks:

“Nine in the Afternoon”

“Northern Downpour”

“That Green Gentlemen”

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The Indie Review
By Sean Duregger
April 18, 2008

Artist: The Hush Sound
Album: Goodbye Blues
Label: Fueled By Ramen/Decaydance
Rating:

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I discovered The Hush Sound with their last release, Like Vines. It was a fresh departure from Powerpop/Emo/Screamo that was beginning to saturate the scene. Their Jazz infused Pop came off pretty irresistible and that album stayed in my CD player for an extended amount of time before it was placed into my gigantic iTunes Library.

The Hush Sound is back with their third studio release, Goodbye Blues. Instead of giving us more of the same, they have grown as musicians and songwriters; taking risks on new sounds while remaining true to their Jazzy overtones. For the most part, the musical strides they have taken pay off. Goodbye Blues is an album that isn’t as memorable as Like Vines, but a solid release nonetheless.

The main problem with Goodbye Blues lies in the vocals. It seems like they have taken a step back and just aren’t as solid as previous efforts. While I appreciate how Greta Salpeter and Robert Morris trade off vocal responsibilities, Robert’s vocals are overshadowed by Greta’s sultry and smooth voice. The most memorable songs on Goodbye Blues are graced with Greta’s voice. Hopefully on their next album, Robert takes the passenger seat a little more and lets Greta take over most the vocal responsibility. Her voice is extremely powerful and unique.

Musically, The Hush Sound show tremendous growth with Goodbye Blues. They are trying new things and not copying any formulas here. The songs take more time to warm up to, and are definitely less catchy this time around. Which is unfortunate. Like Vines had numerous gems, while Goodbye Blues makes you wait and dig a little bit to find it’s gems. But, I will say that the songs that stand out on Goodbye Blues have incredible weight and sincerity behind them. The solid production, interesting song arrangements and ingenious musicianship make up for any shortcomings.

With Goodbye Blues, The Hush Sound have shown they can evolve as a band and offer something new yet familiar. While not their best album, Goodbye Blues has it’s moments and solidifies The Hush Sound as a band to continue to pay attention to.

Stand Out Tracks:

“Honey”

“Medicine Man”

“The Boys Are Too Refined”

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 IndieUprising #12: Play Now | Play in Popup | Download (654)

Featured Band: Ashcroft. Interview with Matt and Justin

Music By: Tokyo Rose. Anagoes. The Academy Is. Yellow, The Vertical. Darkmiracle. A Cadence of Sorts. Paramore. Ashcroft. Red Fox Grey Fox. Brailen.

News Links:

Every Time I Die looking for extras!

Glassjaw the first band announced for 2007 Saints & Sinners Festival.

EMI goes to Myspace.

Universal disses iTunes.

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 IndieUprising #11: Play Now | Play in Popup | Download (676)

Featured Band: Pierce the Veil. Interview with Vic Fuentes (vocals, guitars)

Music By: Brandtson. The Prize Fighter Inferno. Love and Reverie. A Cadence of Sorts. Cobra Starship. Sirens Sister. Medicated Kisses. Pierce the Veil. This Providence. Nude.

News Links:

Thrice And Island Records Part Ways

Rolling Stone Articles On The Future Of Music
article #1
article #2

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