Second track “All I Know” begins with a Motion City Soundtrack feel, thanks to the synth work. The drum work throughout the EP is always good, but this song is particularly noticeable. With the smooth transitions and dance-y beats, “All I Know” is the catchiest song of the set.  ”New York, New York” is the pop-punk song of the album. This song has the poppy value of an All Time Low song, with the chorus sounding similar to “Coffee Shop Soundtrack,” an ATL oldie.

The lyrical content, while simple and having been done before (but honestly, what hasn’t?), is relatable on the surface and on a deeper level, presenting the listener with two options: listen to the song and enjoy it for the simplicity of the upbeat chipper sound, or enjoy the song for the lyrics that are at times a little down – or, if you are a philosopher, there is that third option of both. Sad lyrics with pop music tends to allow that dismal feeling one would achieve from listening to a band like Coldplay to be avoided.

With vocals comparable to those in Summer Obsession (see the title track, “Finders Keepers”), and catchiness like that of +44, Fourth Quarter Comeback is the Alternative power-pop band to listen to.

When it comes to well-written guitar riffs, or drum beats that stand out, the band is severely mediocre.  It feels like the main focus is on the melody. In fact, it was one of the first things that stood out to me. At first Michael Natzke sounds similar to Mayday Parade frontman Derek Sanders, but then he brings a harder rock feel more comparable in some ways to Balance and Composure vocalist Jon Simmons. Or he sounds like both, combining Sanders’ range with Simmons’ edge, but when singing softly, he sounds similar to Kenneth Nixon of Framing Hanley or some other “hard rock” voice.

Don’t get me wrong though, I’m not trying to say that any of the songs are particularly bad, because each song does have its own hook. For instance, in “Forever Family,”  it’s the guitar lead; in “Please Me,”  it’s the chorus; “Dear Son” has the mood-setting drum work; and finally, “Anniversary” slows it down. The band definitely deserves a listen, because they do their job well, and for those who enjoy the simplicity of pop-rock, Car Party is for you.

Jay from Blood On The Dance Floor took some time to talk with Mind Equals Blown about the All The Rage Tour, Warped Tour and Halloween among other things…

Click here to view the embedded video.

But, since first impressions are almost always wrong, I kept listening. Not that hearing something upbeat like BTR would be a bad thing, anyway. And Aaron Carter? Come on, you know you were a fan at some point. With The Ready Set’s past albums, specifically I’m Alive, I’m Dreaming, there seems to be more of an alternative pop feel; a sound that perhaps was not completely accepted on popular radio stations, or the (for lack of better terminology) “mainstream” (I know, I know – it’s a soiled word) music scene. In the Feel Good Now EP, however, slight changes are made that make it more commercial.

Third track “Back to Back” is a perfect example. This song just sounds like it belongs on the radio- catchy chorus, key changes and hand claps. But while this EP is more radio-friendly, it is still TRS-signature. For example: the lyrics. Like I said before, cutesy lyrics are what Jordan Witzigreuter is all about, and this stays constant throughout everything in this new release. The keyboard usage is also still remains a dominance of the songs.

The Feel Good Now EP is Jesse McCartney with a smaller ego, Aaron Carter with a less flashy lifestyle/reality television flop, and Big Time Rush without dance moves or a falsely-advertised extravagant lifestyle. But most importantly, it is still the same ole Ready Set you’re used to hearing.

Already covered in my August preview of Soul Punk, album opener “Explode” and “Spotlight (New Regrets)” are still overwhelmingly strong tracks, with great songwriting, melodies, and instrumental parts. While the Lupe Fiasco remix of “This City” was covered in that article as well, it deserves some comparison to the original version now that fans are finally able to hear it. Thankfully, a great deal of the song remains the same, from the beat to the chorus to the bridge. A verse from Stump fits into the spot where Lupe’s is in the remix. Stump’s lyrics seem to be more positive than those in Lupe’s part, and they’re definitely less intense in comparison. Oddly, a short instrumental portion precedes the bridge in the original, which seems a bit weird after growing accustomed to hearing the chorus lead directly into it from the remix. Overall, I’d have to say I’m more of a fan of the remix, as it benefits greatly from the hype that Lupe creates in the beginning of the track and the change in pace his verse offers. That said, the song stands well on its own and its quality would not be questioned had the remix never existed.

The first completely new song on the album is “Dance Miserable,” which has more than its fair share of interesting rhythms and melodies. Though the chorus is well-written and the vocalizations in the song are rather impressive, the spoken word portion in the middle comes off as a bit forced. “The ‘I’ In Lie,” on the other hand, is perfection from start to finish. The falsetto verses grow into the huge singalong chorus, with some of the strongest lyrics on the album and parts that beg for audience participation. Words can’t even describe how great it sounds when he holds out the notes near the end of the track.

“Run Dry (X Heart X Fingers)” opens with a great vocal hook before the music kicks in to bring the funk. Though this is the longest track on the album (clocking in at over eight minutes), it never drags or gets boring due to perfect transitions and a seemingly endless selection of melodies to choose from. Even though Stump says “I don’t have to prove myself to you,” that is exactly what he does, both with the album and this track in particular. Going solo and covering a completely new range of sounds, he’s proved that he’s capable of creating great music outside the realm of what he did in Fall Out Boy.

The following track, “Greed,” is the only track on the album that doesn’t really stick with me after listening. There’s nothing inherently bad (or even anything less than good) about it, as it’s certainly a good listen on its own. The “pop your white collars up” portion in particular is pretty fun, but it seems that the track is just outshone by the tracks before and after, not to mention that the last minute and a half of the track is an instrumental buildup to “Everybody Wants Somebody,” which has become one of my favorite tracks. Since it and “Allie,” both great tracks, were already covered in the album preview, some extra attention should go to “Coast (It’s Gonna Get Better),” which works as an album closer before the Fiasco remix of “This City.” Full of positivity, this is the sort of song that should be playing anytime times are rough. The melodies are some of the best on the album, the backing vocals are great, and the music fits with the words perfectly. It’s like a sigh of relief to the intensity and anxiety of “Explode” from the beginning of the album, ending the album on the right note.

Of the ten (eleven if you account for the remix of “This City”) tracks on this album, nine are ones I find myself singing at one point or another throughout my day. Say what you want about Patrick Stump, but the man knows how to craft melodic perfection, and Soul Punk proves that he is capable of writing the words to fit those hooks. He makes me want to be an unfaithful, greedy, miserably dancing alcoholic with some hidden skill who knows that it’s gonna get better. It should be noted that this review doesn’t do justice to how well the instrumental parts on this album go together. Everything from the guitars to the synth to the drums finds the perfect rhythm for the melody, and the instrumental melodies at times almost match the quality of what he sings. From start to finish, there is no filler on this record. Soul Punk proves that Stump is not only a gifted vocalist, but that he can write and play everything it takes to make a quality album.

Lead single “Rumor Mill” indicated little change from Guaranteed To Disagree, but offers endless energy, perfected pop melodies, and very good songwriting. The chorus is top-notch, and the bridge allows Jardine to pull you in with some extremely powerful vocals. The track has great guitar parts and nice drum fills. Start to finish, it’s the epitome of We Are The In Crowd. “This Isn’t Goodbye, It’s BRB” continues with a similar feel, though Eckes is given more opportunity to take control in the vocals department, most impressively in the bridge. There are some really interesting guitar parts and tones in this song, and the drum parts do a great job of emphasizing them.

Though “The Worst Thing About Me” is still fairly upbeat, it has a somewhat slower feel to it, coming off of the energy of the first two tracks and leading into the mid-tempo “Kiss Me Again,” which sadly falls a bit short of the mark set early on. Full of generic, sugary lyrics that remind me of my failed attempt to get through the first Twilight book, even a well-written bridge and strong performance by Jardine do little to salvage the track. Though the opening of “On Your Own” indicates a similar tempo, the track quickly picks up and injects the album with the energy it needed. Appropriately picked to be the second single from Best Intentions, this is quite the singalong track as soon as the chorus hits and the lyrics fans grew accustomed to with their EP really shine.

Beginning the album’s second half, “All Or Nothing” takes an even slower pace than “Kiss Me Again,” but is much more successful and shows quite a bit of maturity and restraint. Though not the most memorable song on the album, it fits well after “On Your Own.” After a weak opening, “Exits and Entrances” manages to redeem itself well with strong verses. The lines from the beginning work much better in the context of the chorus and bridge, and the drums tie everything together well. “See You Around” sounds a lot like a more toned-down version of something from the EP and is moderately successful, save for the ill-attempted auto-tuning midway through.

My personal favorite track on the album is “You’ve Got It Made,” a post-breakup ballad that features great clean and acoustic guitar parts and the best lyrics on the album. This song is begging to be put in a movie, especially when the strings come in towards the best bridge on the album. The outro fits perfectly and, though it’s not the typical song you’d expect from WATIC, this is exactly the sort of track I’d love to hear more of from the band in the future. “Better Luck Next Time” combines some of the best elements of the band’s sound with an atmospheric quality to great effect. Closing with another set of stellar vocal performances, great lyrics, and strong instrumental performances, the album definitely ends on a high note.

In a year with a number of high-quality pop releases, We Are The In Crowd has definitely put together one that stands out. Though they use a lot of the same song structures, their undeniable melodic sensibilities more than make up for it and manage to make similar patterns sound unique. Maturing from the sound of their EP has allowed them to create some variety, and each member brought a lot of quality performances to this album. Even with its missteps, Best Intentions has a very high replay value and, though it’s not the strongest album of the year, it holds up as one of my favorites up to this point.

Lead single “Oh Well, Oh Well” brings together everything that’s great about Mayday Parade, with strong vocals from Derek Sanders over a soft piano intro before guitars and drums kick in to take the song to a completely different level. The lyrics in the verses and bridge are somewhat reminiscent of the band’s debut, while the chorus could have easily fit in as a highlight on their sophomore release. Particularly with the line “tell your new friends that they don’t know you like I do,” the emotion this group is capable of really shines through. Though it’s the longest track on the album, it doesn’t drag at all and sets the tone perfectly for what’s to come.

Second track “No Heroes Allowed” is one of the most unique songs in the band’s catalogue, with its country-influenced guitars carried over from the sound of “Amber Lynn” from the Valdosta EP and strings accenting the beats, while “When You See My Friends” manages to capture Mayday Parade’s sound perfectly, with some of the best lyrics on the album alongside guitar parts that are dynamic and convey feeling as well as any voice could. “You’re Dead Wrong” has the well-written guitar parts expected from the band, with a good riff in the beginning and the sort of solo that’s rarely found in this type of music. “Priceless” keeps up with the interesting guitar parts, though the drums are a lot of what makes this song so great, especially in the bridge and acoustic chorus near the end.

“Stay” is the biggest standout on Mayday Parade, combining equal parts emotion and catchiness over dynamic instrumentation. The refrain will be stuck in your head for days, and the chorus is massive. It also has the album’s most memorable line: “All the love’s still there, I just don’t know what to do with it now.” It might be sad, but it’s beautiful writing. Though not all of the lyrics are quite up to that caliber, this is the album’s “Miserable At Best.” The transition between “Stay” and “Call Me Hopeless, But Not Romantic” is flawless, and the latter is a good counterpoint to the former, both lyrically and musically, as it questions, “where did you go?” over more traditional instrumental parts.

Another song closer to the sound of their debut, “A Shot Across The Bow” is an upbeat track that allows Jake Bundrick to show off his vocal abilities and features the sort of imagery fans of A Lesson In Romantics will love. “Everything’s An Illusion” has some great verse melodies, and the understated first chorus is really effective. The lyrics of this song seem to tie in to the music video for “Oh Well, Oh Well” quite a bit, leading me to believe there’s a much bigger concept to the album than has been let on thus far. It makes me really excited to see how deeply they delve into it outside of the record.

“I’d Rather Make Mistakes Than Nothing At All,” despite having a few weak lines, is another standout track, thanks to great guitars, melodies, and lyrics on the whole. If it had been the final song on the album, I don’t think I would have minded, except that “Without the Bitter the Sweet Isn’t As Sweet” and “Happy Endings Are Stories That Haven’t Ended Yet” are both such great songs. The former is a bit reminiscent of “I Swear This Time I Mean It,” relying on powerful vocals and lyrics over acoustic guitar for its main strength, while the latter features some well-written guitar parts and a really strong buildup to the solo. The backing vocals toward the end of the song sound great, and ending the album with only piano brings the album full circle and closes it nicely.

To self-title an album is a move generally reserved for what a band feels is their most representative work. Taking Back Sunday‘s release this year found them not only returning to their original lineup, but also returning to a place where they actually enjoyed the music they were making. Mayday Parade seems to have a similar feel to it. While this is the same band that made Anywhere But Here, you can tell that they actually meant what they were doing this time around. From the dynamic songwriting and guitar playing to the powerful drumming to the sort of lyrics and dual vocalists that is almost a complete return to A Lesson In Romantics, everything bleeds the same type of emotion they once had, and it is a triumphant return for a band some considered to be past their prime. Without a hint of doubt, it’s safe to say that this is Mayday Parade.

Two years after her debut album The Listening Lights comes back with a veritable army of fans to please and a lot of grit between the gears of her spaceship; that is to say that things stray from more of a stellar feel towards something more urban and real. While The Listening felt like a trip through space, Siberia feels like Gotham City in the winter. But…perhaps AFTER Batman has saved the day, because it is not completely void of the bubbly Lights we all have come to know, but she has grown wonders sonically this time around.

One of the first and foremost things that jumps at you throughout Siberia is her updated usage of her beats and kicks. They are a lot more heavy in Siberia- they definitely take a front seat; but that is not to say they are dirtnasty dubstep abberations. These percussion elements will definitely translate well into her live show, which is something many electro artists overlook. It has always struck me as odd, watching a skinny DJ flail around behind a desk for hours. Lights has always played her instruments live and had a band supporting her, these new drums will add a certain footstomping dynamic to her live show, the likes of which was missing from The Listening. She also ends off the album with a crazy instrumental lasting nearly 9 minutes, something I did not quite expect, but by the end respected.

Lights’ vocal performance throughout the record is scores better than her previous effort. There were strong moments on The Listening, but in Siberia, those strong moments are emulated in nearly every song, throughout its entire duration and are then supplemented regularly with soaring vocals that were rare, but present in The Listening. Lights’ has an innate ability to seamlessly change from a vocal softness to singing much more powerful. It works extremely well with the hard percussion elements, and the silky soft melodies Lights’ is known for. Lyrically she has matured just as much as her sound, she is less cute and more gritty. Her new words can, much more clearly, be defined as art.

This album has everything an electronic music fan could ever wish for, have you ever heard of an electro anthem? Neither had I, but Lights will have have your arms in the air, singing along with her with “Banner”. If you’re going to see her live, make sure you bring a cellphone or some glowsticks, because you will be swaying them to and fro to the sounds of “Cactus In The Valley”. Lights encompasses almost the entire spectrum of electronic music; trance is there, dubstep can be heard and everything in-between- she does this all while maintaining the signature style she created for herself.

Lights has created a sound that is equal parts the Lights we know and love and the one we have yet to discover. Her legions of devoted will eat this up and hopefully her numbers will swell to the likes of which music like this deserves.

Lead track “Anthem, Pt. 2” set the tone for the album, as Travis Barker’s crisp drumming and Tom DeLonge’s simplistic yet memorable riffs were made even more palatable for the mainstream crowd by the crisp and clear production. Tracks like “First Date” and “The Rock Show” further highlighted the shift towards a more radio friendly sound, which were (and still are) catchy, though sorely lacking in substance.

If any of the good old Blink-182 punk-ethos remained, it sought refuge in the band’s cussing and goofball humor. The scoff-inducing ”Happy Holidays, You Bastard” embodies both factors in its 43 second run-time, with lyrics like “It’s Labor Day and my grandpa just ate seven fuckin’ hot dogs” being perversely amusing. “Online Songs” and “Roller Coaster” form up the remaining aloof songs. Though considered enjoyable songs, the passage of time has diminished their significance, though the relentless pace of the tracks still makes for a joyous listening experience.

The album wasn’t all fun and games though, as glimpses of the maturity that the band would fully come to realize shone through in “Stay Together for the Kids.” Arguably the best song on the album, the band utilizes soft-loud transitions to great effect, with a foot stomping, arena-filling chorus sung by DeLonge. Hoppus’ instantly recognizable, deep voice is morose and apathetic, as he leads listeners through the gloomy verses.

If I had to sum up this album, I’d call it the forgotten middle child in the catalogue of Blink-182’s releases. It isn’t the sure-fire classic that Enema of the State became, neither was it what I consider the band’s magnum opus, the full realization of their potential in their self-titled album.

TOYPAJ has its moments, but they don’t hit quite as hard as their siblings. That isn’t to say that it wasn’t enjoyable – it was, and still is an album I constantly revisit when I find myself in need of some additional cheer. For anything else, you best look elsewhere.

First off, let’s get one thing straight. Everyone has heard at least one song from this album. By everyone, I mean everyone. Lead single “All the Small Things” has become the biggest pop-punk song ever to hit mainstream success. Most hardcore Blink fans consider this song to be one of their worst, but without the nonchalant verses and infectious “na na na’s,” that make up “All the Small Things,” Blink-182 would not be as big as they are now. Other singles “What’s My Age Again?” and “Adam’s Song” received a lot of attention worldwide, but no Blink song will ever compare to the hugeness that was “All the Small Things.”

Now, singles aside, let’s get to what makes Enema of the State a classic pop-punk record. Nearly every non-single that lies in this album is a pop-punk gem and they deserve the respect that they receive.

Opener “Dumpweed” has one of the most recognizable guitar riffs in the pop-punk genre, and songs like “Going Away To College” and “Wendy Clear” show vocalist/bassist Mark Hoppus at his best.

Enema is also a monumental album in this band’s career as it is the first to feature the living legend Travis Barker on drums. Using his super slick rolls (“Don’t Leave Me” and “The Party Song”) and eclectic drum compositions (“Adam’s Song,” “Mutt,”  and “Dumpweed”), Barker shocked the masses with a unique style of drumming unheard of by most of the world.

All of Blink’s work preceding Enema was loosely constructed as nothing but a fun project, but Enema is the first to showcase a song that Blink can deem as a quality song that shows the serious side of the band. “Adam’s Song” is a track that has darker instrumentation as well as controversial lyrics about suicide (and serves as a touchy track for the band due to their close friend Adam “DJ AM” Goldstein tragically overdosing in 2009). Barker’s assorted drum style works impressively during the verses and Hoppus’ vocals shine brighter than on any other track.

Though Enema is the first to feature signs of Blink’s maturation, that’s not to say that it doesn’t feature its share of classic Blink joke tracks. “Aliens Exist” is a song dedicated to vocalist/guitarist Tom DeLonge’s fascination with UFOs while “The Party Song” is Hoppus’ own tale of his ventures to lame parties. Likewise, “Dysentery Gary” has its fair share of humorous lyrics (Fuck this place/I lost the war/I hate you all/Your mom’s a whore/Where’s my dog?/Cause girls are such a drag).

All in all, Enema of the State is a classic pop-punk album for a reason. Everyone loves to have fun, and that is exactly what this album is. Nearly all of the twenty-somethings of this generation have a memory attached to one or all of the songs on this album, and that is why it is universally loved.