‘A Decade Under The Influence’ Or the less poetic; ‘A Retrospective Glance at Ten Albums (Of Which I Adore) That Turn Ten This Year’
2006; a rather significant year for me, musically & personally. I was fifteen and heavily influenced by the music that I was listening to. I was playing guitar and singing in a “post-hardcore” band called The Takeover (later known as Hero Theory) and I was also the bassist come-backing vocalist in pop-punk quartet, The Hold Up. I had joined a theatre company and had started making friends that shared similar interests with me in the performing arts side of things, outside of my normal friendship group, and I had my first summer romance which, in hindsight, probably shouldn't have lasted longer than the six weeks summer holiday, but alas, we live and learn. In some ways, I class 2006 as one of the more important years of my life and in other ways, not so much. The things that were important back then now seem a little naïve but then again, it was a much simpler and easier time. Would I go back and be that awkward, spotty teenager again? Absolutely not. Do I have any regrets? Probably. Would I change anything? Not in the slightest. As a songwriter, I find that I'm forced to look back over the years for inspiration but as I get older, I also realise that some things are best left in the past. That's definitely something I'd go back and tell myself but any mistakes I made along the way have certainly, for better or for worse, helped shape the man that I am slowly but surely becoming. God, I was skinny back then… Anyway, the reasoning behind why I'm writing this is for a trip down memory lane, and if you'd like to come along for the ride then please keep on reading.
I've said it before and I'll say it again, nostalgia is, in every sense of the word, a bitch. I've recently gone back and listened to the albums that I mention below and find it hard to believe that ten years will have passed this year since I first heard them. Some of the songs have had me cringing at particular memories, others have given me a lump in my throat. Maybe you have certain songs that do the same to you. So in no particular order, apart from the order that I am writing, I present to you the following.
Alexisonfire – ‘Crisis' - 22/08/06 - Shock Records
If you're around my age and was in a similar 'scene' to me growing up, then chances are if I sung the words; 'City, this city is…' then you’d probably respond with 'HAUUUUUUNNNNTED', and rightly so! 'This Could Be Anywhere In The World' off Alexisonfire's album 'Crisis' was a massive hit and still sounds just as huge now as it did then. Julius Butty's sense of a raw-production technique gave this album an eerily dark tone throughout and showcased a band at top of their game. Less "effects" driven than 2004's 'Watch Out', 'Crisis', whilst still being a post-hardcore effort, was a more streamlined beast of an album. The throat shattering screams of George Pettit, coupled with the gentler yet no less powerful melodies of Dallas Green (yep, that guy from City & Colour) and the odd flourish from Wade McNeil (now the frontman of Gallows) spoke to a generation of misguided youths and I'm more than happy to call myself one of them. 'Boiled Frogs', 'We Are The Sound' & 'Rough Hands' are the album's best moments in my opinion but from start to finish, even the odd midway addition 'You Burn First', 'Crisis' is a masterpiece. It's great news that the boys are back together following their split in 2012.
Rise Against – 'The Sufferer & The Witness’ - 04/07/06 - Geffen Records
Back then, whenever there was a subtle glimpse of the sun through the clouds, chances are you'd be able to find myself and a small group of friends skateboarding on the road outside my parents house. To be honest, we were not very good at all but it was something to do and I hold a lot of dear memories from those times. So, because of our interest in this particular activity, I was introduced to Punk Rock through Playstation games such as Tony Hawk's Underground. It was this game that introduced me to Rise Against with the song 'Like The Angel' from 2003's 'Revolutions Per Minute'. After getting that album and it's 2004 follow up, 'Siren Song Of The Counter Culture', I was eager to hear what their next effort would sound like. Despite always being a self-aware-political-punk band, 'The Sufferer & The Witness' saw them move into a more mainstream rock sound ('Prayer Of The Refugee', 'The Good Left Undone' and 'Ready To Fall') not unlike the music you'd hear on their most recent albums. This was no bad thing though of course as it helped propel them into the stratosphere of loud-guitar music and cemented them as a staple among the iPods of kids that didn't fit in and didn't want to. Produced by Bill Stevenson & Jason Livermore at The Blasting Room in Fort Colorado, their signature production techniques make this album stand up and scream for attention. There really is no wonder that so many bands use the duo to helm the production duties of their records. Closing track 'Survive' is still to this day a song that I consider to be one of the most important songs in emotive, melodic punk rock and this album will continue to stand the test of time.
New Found Glory – 'Coming Home’ - 19/09/06 - Geffen Records
My longtime friend, Nathan (who introduced me to Blink-182 a couple years prior) and I would share earphones on bus journeys to and from school daily. We'd mainly try to air-drum along to songs from Avenged Sevenfold's 'Waking The Fallen' and various other bands that we had been listening to at the time. One of these bands happened to be New Found Glory. It was around 2004 and 'Sticks & Stones' had been out for a while and they were gearing up to release 'Catalyst', an album that, at the time, I wasn't blown away with but I've recently learned to absolutely adore. As the years passed, something else that would happen on the school bus was every Wednesday, I'd read the newest issue of Kerrang! Magazine. It was here that I got the majority of my musical education from in my formative years and learned about when bands would be releasing new music so in the Summer of '06, I was especially excited to hear that New Found Glory had put the finishing touches to their as-yet-untitled album. The album that would then become, 'Coming Home'. In fact, I remember there being a quote in that particular issue of Kerrang! where the process of recording the album was being discussed and another band member said something along the lines of; "Jordan (Pundik – Vocals) doesn't sound like he's whining anymore". Upon it's release, the band sounded better than ever. A departure from their usual pop-punk formula and an introduction to their more mature side. Songs like 'Oxygen', 'On My Mind' and 'Too Good To Be' showed a band completely sure at what kind of sound they were going for and executing it with outstanding results. Album closer 'Boulders' saw them achieve something that I believe they had tried with 'I Don't Want To Know' on 'Catalyst' but didn't quite get it. Since then, there have been a couple of changes within the band and it's sound, but they're still a band that gets played by myself on many an occasion.
Angels & Airwaves – 'We Don't Need To Whisper’ - 23/05/06 - Geffen Records
One of two very important releases of 2006. Blink-182 were the band that got me interested in playing guitar. They were the first band I saw live (Wembley arena 2004). Tom Delonge was, and at times I am shamed to admit that he still is, a personal hero of mine, so when Blink called it a day in 2005, I immediately took his side. Looking back, of course he handled everything wrong and some of the claims he was making around the release of Angels & Airwaves' debut release were absolutely ridiculous and then there was that atrocious comeback album for Blink in 2011, 'Neighbourhoods' which proved once and for all that Tom had well and truly lost it. Sorry Tom, but come on. 'We Don't Need To Whisper' was Tom's way of saying "I don't make dick jokes anymore. Look how much I like U2". I haven't been able to get into anything Angels & Airwaves have done since their follow up to this in 2007 with 'I-Empire' but 'We Don't Need To Whisper' was a brave and bold statement from a man who once told us all that he wants to “fuck a dog in the ass". 'The Adventure', 'Good Day', 'It Hurts' & 'Start The Machine' are still solid tunes and despite the album being a bit too over produced, it does sound damn fine. RIP Critter.
Taking Back Sunday – 'Louder Now’- 25/04/06 - Warner Bros.
Possibly the most important album on this list. Mainly because it's probably my favourite album of all time. Since I first heard it in July 2006, I don't think that I'd be incorrect in saying that there hasn't been a month that has passed since that I haven't listened to it again. From opening track ‘What’s It Feel Like To Be A Ghost' with crushing lyrics such as "Bypassed everything and went straight for the neck" to album closer, 'I'll Let You Live', this album showcases Taking Back Sunday in their finest hour (despite the album only clocking in at 45 minutes & 38 seconds). 'Louder Now' was the second (and final) album with lead-guitarist/second-vocalist Fred Mascherino and the band's first album under the Warner Brothers' imprint. Eric Valentine's clean and crisp production is ever present and Adam Lazzara's lyrics & vocal performances are, in my opinion, absolutely perfect. I saw Taking Back Sunday at the Milton Keynes Bowl the year before supporting Green Day and that performance, along with previous album 'Where You Want To Be' introduced me to their music and they've been one of my personal favourites ever since. Recent years within the band have seen a couple of line up changes until they made amends with the previous band members and settled on their debut-album (2003's 'Tell All Your Friends') line-up. Track 6, 'Spin' is a song that I struggle to listen to for reasons that I shan’t go into right now. (Get a few whiskeys in me and I might tell you). It's the first song I heard off the album and is a song that takes me straight back to the mindset of that fifteen year old boy. There's not a damn thing wrong with this album and if you disagree then, you're wrong.
Trivium – 'The Crusade’ - 10/10/06 - Roadrunner Records
In case you didn't know, I love a guitar solo. But do you know what I love more than a guitar solo? A good riff! Fortunately, 'The Crusade' has riffs aplenty. Trivium's 2005 Roadrunner debut, 'Ascendancy' was the first Metal album that I fell in love with and I spent/wasted (however you choose to look at it) many a night in my room learning the majority of the riffs and failing at learning many of the solo's off it. It opened up this entire new way of looking at the guitar and I owe 'Ascendancy' a lot in terms of my "technical ability". 'The Crusade' wasn't an immediate love of mine though. Matt Heafy's on-off relationship with guttural screaming has put me off them somewhat in more recent years and yes, you’d be forgiven for thinking this album is "too Metallica" but as far as I'm concerned, who cares? Metallica are awesome. Trivium are awesome. Let them release a Metallica-esque-but-more-technical album if they want. I even got a Dean Razorback ML guitar because of this album. One day, I'm going to take that out of storage and get it set up again because it absolutely shreds! I saw Trivium at The Corn Exchange in April 2007, in support of 'The Crusade' and being there in front of two of my guitar heroes, I was stunned. This kind of music may not be very similar from what I play these days but 'Detonation', 'Entrance Of The Conflagration' & 'To The Rats' are songs in their catalogue that I'm still very fond of.
Killswitch Engage – 'As Daylight Dies’ - 21/11/06 - Roadrunner Records
Like most people that share a similar music taste with me, 'The End Of Heartache', the title track from Killswitch Engage's third album, was and still is somewhat of an anthem. After the success of that album, first with vocalist Howard Jones, the follow up was definitely one to keep an eye out for. Again self produced, 'As Daylight Dies' was full of tasty riffs, incredibly tight instrumentation and massive…sorry I mean MASSIVE chorus'. Killswitch have always stuck to what I consider to be a tried and tested formula but whilst covering familiar ground, they manage to find new ways of approaching it. 'The Arms Of Sorrow', 'My Curse', 'Desperate Times' & 'Reject Yourself' are the standout tracks for me. Howard's vocals are at their absolute best. Adam and Joel's guitar work is sublime. Mike's bass tone is absolutely punishing and Justin's Drumming is just, well, perfect. This album highlighted a band at the top of their game. I look forward to their latest release, fourth with original vocalist Jesse Leach back at the helm.
Yellowcard – 'Lights & Sounds’ - 24/01/06 - Capitol
Yellowcard's major label debut, 2004's 'Ocean Avenue' is an album that I will always hold very close to my heart. I have a very fond memory of being sat in my old bedroom with my buddy Nathan, we’ve mentioned him before, trying to sing along to Ryan Key’s melodies and failing. ‘Lights & Sounds’, despite still being a “pop-punk” album was a far less polished album than it’s predecessor. Again, produced by Neil Avron, the band appeared to be taking a risk with a much heavier sound than before. I (my mother) purchased the special edition of this album and I must have worn the ‘making of’ DVD out because I watched it all the time. It was the first time I had experienced a behind the scenes documentary of an album and I was hooked. Being able to see the creative process behind a record was something that grabbed me instantly. In my honest opinion, upon listening back to this album recently, there are a few tracks that don’t really make sense to me but with some absolute belters such as ‘Rough Landing Holly’, ‘Martin Sheen or JFK’, the title track and the gorgeous ‘How I Go’, I’m happy to let some of the filler fall by the wayside.
+44 – 'When Your Heart Stops Beating’ - 13/11/06 - Interscope
The other one of two very important albums of 2006. +44 was Mark Hoppus & Travis Barker's answer to the Blink-182-indefinite hiatus- aftermath. Amidst all the name calling/mis-quoting that took place in various publications, they took it upon themselves to finally stop the bitching and get down to work on this lovely slice of pop-punk. Produced by the 'band' themselves, 'When Your Heart Stops Beating' took everything we all loved about Mark's Blink songs and turned it into a more mature, melodic and rawer sound that we’d heard before. With songs like '155', 'Lillian' & 'Chapter 13', 'When Your Heart Stops Beating' earned itself a place in my original 'Most Played' albums on iTunes. There's not really a lot more that I can say about this album, other than it's clear who the two main writing forces in Blink were/are. It's just a shame that this band were incredibly short lived and didn't do anything else. I'd love to hear more!
Gallows – 'Orchestra Of Wolves’ - 25/09/06 - In At The Deep End
For my final entry, I'm going to deviate from the original course with this one. The fact of the matter is that I didn't actually hear this record until January 2007 but it was released in 2006 and this is MY BLOG DAMMIT. Punk's always been a funny one for me. The DIY ethos behind a number of punk bands is something I've always admired but the whole "be who you want to be…as long as you dress like us, act like us and listen to the same music as us"-lifestyle is something I could never get my head around. I'd always pick Blink over the Sex Pistols, My Chemical Romance over The Clash and Paramore over The Ramones. The "punk-rock" that I've always been a fan of is what I would call Skate-Punk. Bands like, NoFX, A Wilhelm Scream, Pennywise and Propagandi to name but a few, mainly due to their faster and more technical approach to the genre. But this album by Gallows lit something up inside of me. I mentioned earlier that I used to get a lot of my opinions on music from Kerrang! Magazine, well this story is no different. I had read one of their articles about Gallows and before even hearing a single song, I went out one weekend with some friends to Cambridge and I bought this album. I put it onto my iPod and quite frankly, lost my mind. Up until this point, the majority of music I had listened to was always quite, dare I say, polished. There was a reason I wasn't really into records from the 70's & 80's and that reason was that, to my ears, they just didn't sound good. Obviously the lack of technology is the culprit behind this particular. That being said, the reliance on technology nowadays to make a band sound good is what I would consider to be a bad thing, but that's a conversation for a different day. Back to the topic at hand. 'Orchestra Of Wolves' was reportedly recorded for a grand total of, a grand. Hailing from Watford, the original (best) line up of Gallows outdid themselves with this release. I enjoyed Grey Britain and I've tried my best to tolerate the post-Frank Carter records but nothing excites me quite as much as 'Orchestra Of Wolves'. It sounds like you're stood in a room with a band that are pissed of with everything around them. This album is raw, dark, fierce and downright unrelenting. 'Come Friendly Bombs' & 'Just Because You Sleep Next To Me Doesn't Mean You're Safe', I think, are two of the best songs that any British band has put out in a while. This is punk rock at it's most finest and most honest. I believe in this album.
There we go folks. I hope you enjoyed reading this as much as I enjoyed re-listening/writing this.
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