Originally Published Jul 31, 2008 07:07

By KENDAL A. GAPINSKI / Cocalico

A few years back, I remember tirelessly tracking down “Sunsets and Car Crashes” by The Spill Canvas, a little-known album by a little-known singer. Fast-forward to over three years later, and The Spill Canvas has officially hit the big time.

Originally starting out as a solo project, Nick Thomas recorded his first album, “Sunsets and Car Crashes,” and gained an underground fan base.

After catching the eye of One Eleven Records, Thomas formed a full-on band, with Dan Ludeman on guitar, Landon Heil on bass and Joe Beck covering the drums. After releasing the debut album “One Fell Swoop,” The Spill Canvas signed to Sire Records, where in 2007, the band released “No Really, I’m Fine.”

Of all of the CDs I’ve ever listened to, I have to say that “No Really, I’m Fine” has one of the strongest openings.

While listening to the song “Reckless Abandonment,” I had to chuckle at lyrics about how the band doesn’t care “that these critics/they’re writing in their magazines.” Instead of a typical song about long-lost love, The Spill Canvas manages to confront its change in music styling head-on.

Once “All Over You” hit the airways (courtesy of FM97), I was convinced I had to buy the album. It mixes pop and rock perfectly, with a catchy chorus and smart lyrics. Whenever I hear the song, whether in my car or my room, I can’t help but belt out the tune and dance around (much to my sister’s dismay).

Although a great song, just like “Reckless Abandonment,” it has a much different feel.

The third song, “Battles,” is reminiscent of some of The Spill Canvas’ earlier work on “One Fell Swoop.” That, however, is one of the only songs that has a similar sound to older works. None of the songs on the album sounds at all similar to “Sunsets and Car Crashes,” which isn’t necessarily bad, just different.

While other bands are classified as pop, punk, emo or alternative, The Spill Canvas manages to present a different kind of unclassified rock. None of the songs on the album sounds like another, which keeps the listener’s interest.

At the beginning of the album, it seems like “No Really, I’m Fine” is destined to become one of those rare albums where I love every song. However, once the album hits the seventh song, “Low Fidelity,” it begins to go downhill. The song is good, but not nearly as great at its predecessor. In fact, the album peaks at the sixth song, “Hush Hush,” with it being by far one of the best songs on the album.

By the time “No Really, I’m Fine” reaches its 12th song, “Lullaby,” I feel disappointed that the album didn’t live up to my expectations. The song tries to rekindle Thomas’ acoustic roots, but with its overdramatic strings and lyrics, it’s hard to feel the passion felt in the earlier songs.

Overall, the first six songs on the album are well worth its cost. When offered the last six songs, though, you may have the urge to tell the band that no really, you’re fine.

Originally Published Sep 04, 2008 07:06

By KENDAL A. GAPINSKI / Cocalico

Bands that mix quirkiness with depth are a hard thing to come by. Luckily that’s just what Ludo does best.

Ludo’s first major-label album, “You’re Awful, I Love You,” combines crazy lyrics with catchy pop. Ludo works to keep your attention … and succeeds.

The album contains 12 tracks, each one having a completely different feel to it. While the actual music is good on all of the songs, it’s the lyrics that show off the talent of the band.

“Topeka” is a great example of this. It’s one of the first acoustic songs on the album, which helps to catch the listener’s attention. While the first three songs are more energetic and humorous, “Topeka” serves as the contrast. Containing some of my favorite lyrics on the album, such as “Every saint has a past/Every sinner has a future,” “Topeka” is the one song I put on repeat.

“Topeka” isn’t the only gem on “You’re Awful, I Love You.” “Lake Pontchartrain” tells the story of three friends who travel to a lake, only to discover that it comes to life and snatches away two of the friends. Strange, I know. While it may sound like something off of a Halloween soundtrack, Ludo somehow manages to add an intangible charm to the song, making it a favorite.

As I listen to the songs, I can’t help but think, “What a strange mix.” It’s that weirdness, though, that makes Ludo stand out from other contemporary artists.

Songs like “Go-Getter Greg,” a tune about a guy who is determined to make his new neighbor his girlfriend, add an originality that is a breath of fresh air in an age where top pop teens dominate the radio. Although I personally think Greg sounds creepy watching his new neighbor, I still find the song fun.

Human-eating lakes and neighbor-stalking men may manage to ride that fine line between fun and insane; however, “The Horror of Our Love” loses its balance slightly. The a cappella vocals are beautiful, yet despite their beauty, they can’t mask the gore factor of the lyrics. Lead singer Andrew Volpe calmly sings to his love, “I will eat you slowly.” Beware, kids: You need a strong stomach to handle these lyrics.

Ludo reminds me of the type of band I would wait three hours in line to see live. They are full of energy, fun and talent — the perfect combination for a concert.

With such unique, amazing work on this album, Ludo is one band to get anyone out of a music rut.

If you need a break from the norm (And don’t we all?), check out Ludo’s “You’re Awful, I Love You.” It’s one CD that will keep you thinking.

By KENDAL A. GAPINSKI / Cocalico

I love rock music. I love to dance. Thankfully for me, then, The Pink Spiders’ new album, “Sweat It Out,” is the perfect fix.

“Sweat It Out” mixes Nashville-based The Pink Spiders’ knowledge of catchy pop with a true talent for playing rock. It’s flashy, while still managing to maintain a rocker reputation.

The album starts off strong, with “Busy Signals.” The opening guitar riff quickly spins into a great beat. If the song had to be described using one word, it would be “smooth.” It makes you sway from side to side, singing along.

Jumping into the next song, “Gimme Chemicals,” the feel of the album switches to an almost-retro sound, with catchy lyrics and a great guitar playing underneath the vocals. It, by far, has one of the catchiest choruses I’ve ever heard. After the song is over, I have an uncontrollable urge to click on iTunes and replay it.

The next couple of songs go by without any of them being especially memorable. It’s a strange concept, because while all of the songs on “Sweat It Out” sound different, the middle of the record blends together and becomes a blur.

However, the greatness of the album returns in track eight, “Settling for You.” Next to the definition of “power-pop” in the dictionary, it should read, “See ‘Settling for You,’ by the Pink Spiders.” There’s a fantastic arrangement of vocals over a fast-paced guitar. Listening to the song makes me think of something that would be played at a modernized sock hop.

My award for best song on “Sweat It Out” goes to “Sleeping on the Floor.” It’s pure fun, with strange lyrics (“I think I’m watching television/I’m not really sure”) and even a breakdown in the middle, with the lead singer talking about “a large cardboard cutout.” I can picture it as the perfect song for a group of friends having fun, singing karaoke on a Friday night.

“Sweat It Out” is danceable rock with a sense of humor. The CD as a whole isn’t fantastic, but individual songs are. It’s a record with glimmers of diamond among cubic zirconia.

The melodies contrast starkly to the lyrics of the music. At first listen, the songs seem like good clean power-pop. A closer look reveals sarcastic lyrics about drinking and partying. The CD has a similar feel to a musical soundtrack, a la “Spring Awakening.” It’s a strange comparison, yet not necessarily a bad one.

If there ever was a worldwide dance party, you can bet The Pink Spiders would be the perfect hosts. They have managed to create great songs made purely for having a good time. Be prepared to break a sweat dancing to “Sweat It Out.”

Originally Published Jan 08, 2009 09:05

By KENDAL GAPINSKI / Cocalico
Correspondent

It’s hard to believe that a band can manage having a MTV reality show, two albums and a song featured on the popular video game “Rock Band” — especially when the band is made up of members who are only 14 years old.

It’s also hard to believe that as high-school freshmen, a band could be touring the world, playing with heavyweights like KISS and Ted Nugent.

Crooked X, though, is accomplishing all of this and more.

Crooked X was formed when the four members, Forrest French (vocals, guitar), Jesse Cooper (lead guitar, vocals), Josh McDowell (bass) and Boomer Simpson (drums), got together in the fifth grade. That’s right — when the rest of the class was gossiping about the newest “SpongeBob” episode, these guys were writing and playing songs.

In fact, “Nightmare,” the eighth track on the band’s latest, self-titled album, was written when the boys were only 11.

Crooked X got its start when the band was featured on the CBS “Early Show” contest “Living Room … LIVE.” The guys placed second and caught the eye of McGhee Proffer Media. Since then, the teens have released an EP-only album, “Til We Bleed,” are set to release “Crooked X” in January and have had their song, “Nightmare,” on “Rock Band.”

On top of it all, in January, MTV will air a documentary featuring the guys, called “Start a Band, Rock the World.”

Now I’m not going to lie. Typically, the hard-rock-guitar-heavy-type bands aren’t normally my thing. So when I first put Crooked X into my CD player, I wasn’t exactly pleased. The songs seemed to blend, combining the 10-song album into one long 37-minute one. The guys sound like their rock heroes: Pantera, Metallica, AC/DC. In fact, French’s voice sounds more like he’s 34 — not 14.

Still, it’s hard to deny the talent that these guys have. Jesse’s guitar solos and riffs are impressive, while Boomer stays true to his name, doing a great job on drums. Cooper’s bass is heavy, and French seems to tie it all together with his vocals.

I admire the guys for attempting to do a true rock album. They manage to give a classic ’80s-rock feel to the album, yet it lacks a modern feeling. As a whole, the songs are good — just not spectacular.

Individually, though, each song finds a way to feature the talent of the band. Sitting back, you can hear the natural ability of the band shine through. The music isn’t good considering their age … it’s just plain good.

There are a few charms on the album. “Fade” uses classic teen angst and combines it with a catchy chorus and awesome guitar solo. If there’s one song on the album that should have been in “Rock Band,” it’s this one.

I can see Crooked X going far. The guys have the talent to do great things; they just need to make their voice a little stronger. While classic rock is a great starting ground, a little forward thinking will help take these kids straight from the classroom to the Grammys.