Taking the cue from that feedback, Manson reverts back to his Antichrist Svperstar days with his new album Born Villain. He is at his all-time best when he draws the irk from everyone worldwide. Without controversy, Marilyn just isn’t so Manson. Third track “Pistol Whipped” begins with the lyrics “You look so pretty when you cry / Don’t want to hit you but the only thing / between our love is a bloody nose, busted lip / and a blackened eye” is sure to draw criticism from PTA groups and politicians all over – which I believe is the exact reason why this song was written. It’s a very catchy song that starts out with an electro snare and simple guitars before bringing out the band for a short chorus.

Although The High End of Low was a really good album, Born Villain is dripping with the classic, anthemic songs like the olden days. “Overneath the Path of Misery” is an excellent example of this. It’s a little reminiscent of “The Dope Show” in some ways. After a lengthy and drawn out intro, the guitars kick into gear with the drums providing the basis of which the song stands upon. Manson’s delivery is full of attitude that was mostly missing from his last two albums.

Continuing on a similar trend, “The Flowers of Evil” takes the same kind of approach, but with the bass giving the foundation of the song. There’s a fair bit of electronics to mix things up a little bit. Being the creepiest sounding song, there’s a fair amount of fading in and out instruments and Manson utilizing a certain vocal tone that I personally haven’t heard and couldn’t compare.

Having that sort of sound and lyrics that remind one of the old days, “Disengaged” is sure to be a fan favorite. It’s a song about isolation, suicide, and the other problems of being a social outcast, which will always remain catchy. There are so many examples of how Manson draws directly from his past and infuses it into Born Villain, this track being another great example.

Overall, this album is shining proof that Marilyn Manson is back from the slump of the last few albums and ready to reclaim the throne as the most controversial shock rocker of all time. Born Villain is an absolute must have of the year.

If you’re okay with that, Rise and Fall’s Faith is their fourth installment of abrasive hardcore outpouring. Remorse isn’t an option for sound as opener “A Hammer and Nails” completely rips and pounds away at your heart, head, and ears.

It’s like it reminds you of Converge. Waaait a second. It should. Faith was recorded at (let’s just call it) the God City Studios by Converge guitarist Kurt Ballou. He also happens to appear on the atmospheric-expanding (by hardcore’s standards) “Things Are Different Now.” Let alone, the album cover, as if you need telling, is designed by Converge vocalist Jacob Bannon. Just look at it. It’s not a stretch to say the background looks like the Converge/Dropdead 7”. And there are different versions of the artwork as each version’s “hands of god” symbol are different colors representing the classical elements – earth, wind, water, and fire.

But Faith is pretty much straight up fire, so we’ll go with the orange one. Guitarist Cedric Goetgebuer tests the limits of his instrument technically and in general. On “Hidden Hands” there’s a tiny metal guitar solo in there just to vary what’s going on but not at all destroying hardcore as we know it.

Therefore Faith must be all about the dramatic shift between quiet and loud. This is never more prevalent than in “Escapism” where a noticeable bass rhythm along with the guest vocals of Kevin Baker (All Pigs Must Die/ The Hope Conspiracy) take hold. Together Baker and Rise and Fall’s vocalist, Bjorn Dossche shout, “It’s the warmth of a lie/ It’s sweet submission/ But you’re being bled dry.”

Dossche’s drastic vocal approach and the band’s rhythm never leave because Rise and Fall have that slow and somehow chaotic headbang trudge that most Deathwish Inc. bands have. For a place where most Americans only think of chocolate, this may actually be Belgium’s finest.

Ending in the masterpiece “Faith/Fate,” the record becomes removed from all the insane sound there was. There’s nothing but actual audio of the heartbeat of one of the bandmate’s newborn daughter. This makes it as classical and down-to-earth as the motifs of the elements are. It’s something incredibly, incredibly pure as the last lines are: “Love for the loveless/ Hope for the hopeless/ Faith for the faithless/ Speech for the speechless.”

One of those checkpoints, a lack of collision, is common throughout the record. The listener’s journey is never hindered by a dominant guitar or emphasis on lyrics. All the musical aspects are treated as equals and utilized as such. “Skin Graph,” the first track, is a perfect example of this. This song begins with a leisurely introduction but eventually shifts into a melodramatic riff. When the lyrics come into play, space is given for placement but the music is never overpowered, nor the lyrics challenged. Other musical checkpoints include exaggerated loops and refrains, and the addition of non-traditional tools for mood creation.

A period of waiting occurs before “Bloody Mary (Nerve Endings)” digs deep, but the mixture of sounds sets the tone while serving as a useful transition. Even in “The Pit,” auto-tuned piano strokes help set the atmosphere. On the lyrical side of this journey, a couple checkpoints ring true. The first has to be Brian Aubert’s voice. He has a rugged and raspy voice, but something about it becomes sensual. It’s unique and, with the help of female vocalist Nikki Monninger, aids in creating Silversun Pickups’ unusual demeanor. The most complete checkpoint, however, is the lyrics themselves.

Without a particular theme, this album complements itself with stories and descriptions. On one side of the spectrum, “Bloody Mary (Nerve Ending)” is a tale of rebirth with words like, “You barely cried/but you made it out alive/and I’m so proud/that you’re in my hands now.” On the other end, “Simmer” hints at hopelessness with stanzas like “A silent curtain/still the world’s still grinning/I need a strong arm my friend/to keep me from simmering.” The most intriguing, however, might just be “The Pit” with its story of despair. Strong statements like, “I’m sure you recognize my noise and you heard about the Pit/been told to be afraid of everything that lives within/but it’s much worse where you are/so will you go for it?” and “somebody somewhere/will clean out your wounds/with dirty little fingers/we’ll bury the lie” suck you in and keep you glued.

With that said, I believe this album will do well for the band, propelling their success forward again. Straying off the beaten path just enough to capture a few wanderers but sticking to traditional methods keeps this band fresh and their music alive. Their lack of commitment to just one genre also keeps them around. Neck of the Woods is a keeper, and proves they have a little something to offer everyone. It’s brilliant by design, something Silversun Pickups seem to have perfected.

While there’s certainly no shortage of bands featuring two or more vocalists, the format of dual male and female vocals is a somewhat more niche variety. There are plenty of great duets to be found, but bands that regularly trade off between two members of different genders are a bit more rare, making them all the more special when it’s done well. This week, I chose three tracks from bands that get this sort of thing done right, including two older songs and one that’s a little newer. It’s The Forecast, We Are The In Crowd, and Straylight Run, and it’s all about this special formula.

1. “We All Return To Our Roots” – The Forecast

Click here to view the embedded video.

This song. When I first heard it six years ago, I was all about everything Victory Records was putting out, and this was something that really stuck out to me. When the chorus hits, it’s one of the most powerful moments of any released from that era of music, and the layered vocals between Dustin Addis and Shannon Burns towards the end are flawless. While I never quite got into their other work as much when this came out, the song’s always stuck with me. It’s anthemic, emotional, and best played loudly as you scream along.

2. “You’ve Got It Made” – We Are The In Crowd

Click here to view the embedded video.

If you haven’t heard of We Are The In Crowd, imagine what the lovechild of Paramore and All Time Low would sound like, and you wouldn’t be too far off. While most of their stuff’s more high-energy, this song really stood out to me when they released their debut full-length last fall. It doesn’t feature Jordan Eckes quite as much as other tracks, his bridge towards the end gives the song so much more emotional pull against Tay Jardine’s parts throughout the rest of the song. If you’re into pop-heavy pop-punk, there’s no one doing it quite the same way or quite as well as We Are The In Crowd. If you’re intrigued, be sure to check out the rest of their work.

3. “Buttoned Down” – Straylight Run

Click here to view the embedded video.

From a similar place in time as the first song from this week and from the same record label comes this track. While John Nolan’s probably better known for his vocal interplay with Adam Lazarra in Taking Back Sunday, he also does a more toned-down style well. While Nolan and his sister Michelle DaRosa don’t trade off vocals on many Straylight Run tracks like the other two acts above, the way it’s done in this song is perfect. “Buttoned Down” has an intimate feel about it, and it’s certainly one of the better songs of the band’s output, rivaling their classic “Existentialism On Prom Night,” though in a completely different manner. Their sophomore release The Needles The Space features both vocalists a little more prominently, but this song dials it in just right.

Dani Filth, the mastermind and frontman of the legendary “Whatever” metal band, is the creative genius who has been a staple in Cradle since 1991 (the band’s inception). Fittingly, he is the only member who has stuck it out from start to finish (Wikipedia doesn’t even touch on past members – far too many). While the group has often been thought of as Satanists, the albums’ conceptual aspects rarely touch on that theme. In fact, Dani Filth mostly touches on seductions of the dark side, dealing with vampires or other notorious figures (Elizabeth Bathory – Cruelty and the Beast, Gilles de Rais – Godspeed on the Devil’s Thunder). The lyrical capacity and album structure is as close to brilliance as you can get.

With nine full-length albums under their belt and several re-releases, EPs and compilations, Filth and company decided to compile a list of tracks from their first four full-lengths. Not only did they want to bring a small list of tracks together from their earlier (heavier) days, but they also decided to do them strictly in orchestral form. With Filth reading scripture (lyrics in narrative form) in the backdrop of these haunting renditions, Cradle of Filth are once again showing they can do whatever they want, and however they want.

Midnight in the Labyrinth is a tough act to judge. The reason for this is simple: I do not really have anything to stack it up against. It is nothing like Cradle of Filth, and it damn sure is nothing like any orchestral production you would hear at a respected theatre downtown. So how do you rate a compilation album such as this? For the life-long fans, the compilation is a definitive change. Is it a surprise though? In my honest opinion, not one bit. They (in this case, Dani Filth and Sarah Jezebel Deva) are always looking to push the boundaries on what they do and what they have done, and this album is simply continuity of a legacy spanning over 20 years.

On the orchestral version of “Thirteen Autumns and a Widow,” the layout remains mostly the same (think of Apocalyptica). However, when the notorious vocalist adds his presence, you almost feel as though you are living out an Edgar Allan Poe novel in a twisted, radical, neo-musical setting. As one of my favorite tracks by Cradle, this version is surprisingly bearable. Bearable in a way that listening to it along with the rest of the album’s orchestral goodness, I find myself further mystified by the band’s (err Dani Filth’s) colossal prowess in regard to originality.

My only disappointment is that “Bathory Aria” from Cruelty and the Beast does not make an appearance here. The track as a standalone makes for an almost perfect orchestral story. Unfortunately, it would be nearly impossible to find a track to replace with “Bathory Aria,” so in that sense it would be comparable to dwelling on a live show where the band left one distinct song off that night’s list. Outside of that absence, the Record Store Day release left me with a feeling of substantial satisfaction. In the end, compilations that pull off an S-Plus (Elementary School speak) get an A in my book.

So for those of you who have yet to be surprised by this output, stay positive; the surprise may come in a positive light rather than the typical dark abyss stereotypical of Cradle of Filth.

For Those Who Like: Cradle of Filth’s Cruelty and the Beast - Apocalyptica’s Reflections - The Legend of Sleepy Hollow on audio book by Washington Irving

“Currently, as it stands, Periphery is definitely a club band,” assures Jake Bowen, electronica arranger and one part of the trio of guitarists Periphery wields in their sonic concoction of punchy grooves and progressive melodies. “We’ve gotten good at playing clubs and throwing down in a certain way that looks good on a club stage. But once you move or you go on a tour that you’re playing arenas and huge venues, you have a huge stage to command. It requires a lot more energy and thought into what you’re doing.”

That idea came to fruition on that European tour, which visited venues in size much like Wembley Arena in the United Kingdom. For Bowen and the rest of Periphery, it was a learning curve they had to take head on. “We all had to kind of get it together really quickly. After the first date, we were like, ‘Okay, this is a lot different than what we’re used to.’ We had to learn really fast.”

The tour was a mix of old, new and slightly unaccustomed for those on both sides of the speakers. For Periphery, it was going to fans they seemingly either already had on their side or had never even heard of the band. “As far as the crowds, it’s very interesting because we usually do very well in Europe,” says Bowen. “Especially in the U.K. Some of the places we went on this last tour, we’ve never been to before. Seeing a good reaction from a place where we haven’t even begun to build a fan base just because we haven’t toured there, is really motivating.” However, not every date was as welcoming. “The German crowds are notoriously hard to impress, you know? It might just be a cultural thing or whatever, but those were the most underwhelming shows. Even for Dream Theater, their fans would have the first few rows would get really into it, but everyone else is just kind of standing there with their arms crossed.”

Being the only openers on a huge arena tour such as this one, it is almost expected to meet those sorts of crowds regardless of the foreign nature or genre of the band. Yet even in the less receptive of situations, the band was able to make headway on getting these new faces to open up to their music.

“At the beginning of the show, we’d see a lot of people with crossed arms, dead stares and as we would get halfway through our last song, which was really proggy, really Dream Theater influenced, you could see we were converting people right before our eyes. It was pretty cool on that level.”

Now with the band fresh off of that run with Protest the Hero, a band who once joked that this tour would never happen, the attention for Periphery turns back towards the music they’ve been writing as of late – starting with the inclusion of the track “Passenger” on the re-release of the band’s self-titled album this past January.

“I’m still kind of apprehensive about that whole release just because it gave the wrong impression I feel to a lot of people,” admits Bowen. “I think a lot of people thought Passenger was a new single off the new record and it’s not.” Though it is a new song and Bowen is proud of how it turned out, the track is really just “re-appropriated Haunted Shores material” according to him. This is particularly key to the future of the band though, as newest guitarist Mark Holcomb’s resume includes a membership in said band prior to his joining Periphery.

“We were all divided on different people that we wanted to join the band. My number one pick was always Mark, just because of how well we get along with him. He writes great riffs, he just fits perfectly. It was just so natural to have him write with us. The thing is, he wasn’t really familiar with this style of music before he joined the band. So, he really had to figure out what it is we do and how we play and how we pick the types of riffs we play. He learned it within a matter of weeks and was already writing on the same level that me and [guitarist] Misha [Mansoor] write which is really fast-paced.”

But as far as the future goes, the band has constantly had to answer questions about the current year in writing and recording for things due to having already said they’d be writing not one, but two albums for release at some point this year. The statement, along with the band’s reputation for releasing things, has caused a large stir of anticipation to build up with fans.

“I think we set a precedent early in our career with Misha just releasing stuff. Because back when we didn’t have any deals or obligations or any terms with the people we’re involved with or the labels we’re involved with, people were used to getting music all the time, hearing what the band’s been up to and hearing every demo from of all the songs we have. That was one of the biggest complaints about the first record. People were saying, ‘I’ve heard these songs already, now they have vocals on them. I want to hear new stuff.’ With the new stuff, there’s a few things that people might have heard on demo forums if they’re familiar with the pages that we post on, but most of it is brand new material. Even the stuff that came back, the demos we worked on, there’s extra sections, vocals over everything and re-arranged and re-appropriated for our modern sound that we have going on. I think it’s just, important that people get a surprise this time around.”

At this point though, very little information is coming out of the camp regarding either album. Bowen says the first album is completed and being mastered by Logan Mader, something that reflects upon the band’s collective tastes in metal. “He did Gojira’s The Way of All Flesh, which is collectively in the band one of our favorite metal albums, sounding albums as well. He is a well-known mastering guy and he used to play in Machine Head and he knows his shit.” But as far as the release of that album? The band seems to be thinking for next month as the right time to release the record, though nothing has been confirmed up to this point. “Once we get those masters back then it’s game on.”

There’s a reason that the band has been a bit hesitant to talk about such information, be it when they’re releasing music or what exactly it might sound like. Whether it is just being particular or wanting to make sure people are taking in this album in the way Periphery wants them to, it has reflected in the band’s approach to writing and recording this record. “We went to a studio this time and we used acoustic drums. We used real amps. No auto-tune on any of the vocals. It’s all very refined and legit as we could make it this time around. We get a lot of shit for being a drum kit from hell, superior band with Axe-FX and all the gadgets that we use. We use it for the ease of use, but with this album we wanted to show everyone that we can do it this way too. So you know, back off.”

Taking that extra time to refine the sound and writing of this album has led to a double-edged sword of sorts, created both by the band’s desire for this album to be taken in and their own suggestions of even wanting to do two albums in the first place.

“One of the things about this album is that it came out so good, at least to us, that we’re so proud of it. It was such a collaborative effort and turning out so good that if we release something in such close proximity to it, it might cheapen it. I want people to really listen to this record and listen very carefully because this is actually Periphery.”

The progression of the band, not only as a whole, but as different parts making up a machine, might come off as a bit arrogant in the process, but in reality the realization of the band’s sound has been a long time coming due to various member changes and solidifying something that was, according to Bowen, not just a collection of songs but a true album. “This time around, everyone was involved, everybody was in charge of tones and eliciting good takes out of our band members and being really supportive and having a support structure in the studio.”

That solidification has manifested itself in not only the songs making changes, but members, including vocalist Spencer Sotelo truly evolving in Bowen’s eyes. “We’ve all heard the album and we’re all sick of it at this point [laughs] but the one thing that’s been abundantly clear to us is that Spencer’s game has gone to the next level. And it’s not like we have this music with arbitrary vocals over it anymore. Like, the vocals are the main drive now. The vocal lines that Spencer has come up with are mind-blowingly original. Like his tone, his screaming voice. He has like four or five different screams that he uses now instead of the one on the first record. The dynamic range of the vocals has gone to the next level and I’m really excited for people to hear that.”

The question then becomes this: What happened to the second album, an album that was said to be of a conceptual nature that was to be released sometime this year?

“I know I’ve been writing for it, and I know Misha has songs and he’s been writing for it. Mark has ideas. I’ve been writing a lot with Mark lately. It’s coming together. I just don’t know with our touring plans and everything that’s going on this year where we’re going to exactly fit it in, but it is going to happen. I just don’t want to commit to anything right now with that. I know we’ve said stuff about it, but, we really don’t care [laughs].”

It’s been a bit of a long road for Periphery. A look at the band’s past roster reveals nothing short of a revolving door over the years the band has been together. But as far as Bowen sees it, the changing of the guard has only strengthened the band’s future as opposed to slowing any progression. “Every time a member has left, and this is no offense to anyone that’s ever left the band or quit the band or got fired from the band, it’s just the way it is, the band has gotten stronger as a result. I think it’s because any weak link that was present is starting to get rooted out and now we’re all on the same page and we’re all willing to put up with the same hardships at the same levels at the same time. It’s been getting better. It sucks to see all the people who were in your band, but it’s relieving to know the people who are here now are going to continue what we’re doing.”

So with the future seemingly bright and undoubtedly in the hands of the band, what does Bowen see the band doing in the coming months or even years?

“We do have a potential to evolve into a band that can play those bigger stages,” Bowen says of the band’s touring desires and ability. It seems with music as meticulous and layered as Periphery is attempting to make, it might be the only fitting place to witness it.

Youth And Defeat is basically anything anyone can expect from a bunch of kids writing pop punk music. Basic chords, catchy choruses and songs about hanging out with friends and just having a good time. It would be easy for me to say that I Was A Hero offers next to nothing new in the pop-punk genre, because that is absolutely true, but one can’t help but feel lighthearted while listening to 17-year-old Brandon Pagano’s youthful vocals (that lay somewhere in between a young Vinnie Caruana of I Am the Avalanche and Tim Landers of Transit) singing along about Taco Bell and dealing with basic teenage issues.

The band’s style is incredibly basic and straightforward, but sometimes that’s all that needs to be done. While some of the riffs on Youth And Defeat can most likely be found somewhere else in the genre (“I Guess It’s Me”), there are other riffs that are not bad at all and leave no room for the listener to become too bored (“Bus Rides Cost Too Much”). Pagano shows adequate vocal prowess for such a young age, specifically while belting “These scars made me who I am” on the acoustic ditty “2011.”

Though all of the pop punk cliches are more than present on I Was A Hero’s debut, that’s not to take away from the heart that the band offers. Hell, they even offer up a pretty respectable good old-fashioned pop punk breakdown to round out “Bus Rides Cost Too Much” that would probably make New Found Glory proud. These boys know what they’re doing and they can only get better with age.

So is Youth And Defeat an excellent debut? I wouldn’t go that far, but I can honestly say that recording a solid EP like this at such a young age is a respectable feat. Because of their young age, the band really has nowhere to go but up and with positive role models such as The Wonder Years to help them along the way, things are looking up.

Twelve Years is exactly what one might expect from a Mike Sapone-produced record, sprouted from the ashes of a now-settled Long Island music scene. It is clear from the off that Daytrader is a group that know their craft and know exactly how to execute that craft. “Deadfriends” opens the album with incredible power and force, and shows shades of a ”Sic Transit Gloria…Glory Fades” type track.

After such a fantastic opener I was floored. I wanted more. I needed more. Unfortunately Daytrader’s brilliance is quite fickle. It seems that every other track is built up enormously with huge climaxes and carefully crafted melodies, but these specific tracks are almost always directly followed by a hollowed out, dry version of the song that precedes it. “Firebreather,” “After-Image,” and the aforementioned “Deadfriends” leak devotion. Instrumental subtlety is what sets bands apart and as sneaky guitar licks and background effects pop up here and there across Twelve Years, Sapone’s work behind the boards becomes prevalent. Sadly each behemoth of a track is despondently haunted by incredibly average tracks such as “If You Need It” or “Skin & Bones” that don’t do much but delude the momentum that the well-paced tracks before them had built.

The latter half of Twelve Years, however, joyously ends this trend. The one-two…three-four punch that concludes Twelve Years shows exactly why this band is so generally loved. Vocalist Tym (no last name, what a badass!) carries a certain hallowed swagger in his voice throughout most of the album but especially toward the latter half. The epic finale “Letter to a Former Lover” single-handedly embodies how heavily Daytrader can deliver their mastered craft and is reason enough to believe that the musical torch of Long Island is in respected hands.

When all is said and done, Daytrader have proven their worth in the scene. Rise Records once again have proven that they are becoming a force to be reckoned with with this release. It is very exciting to witness such a stellar debut from a young band. With many years ahead of them plus the solid support system from their label, it is only a matter of time before Daytrader becomes a staple in the scene.

At the present time, it’s been a little over 24 hours since news of Tom Gabel’s sex change leaked and spread like wildfire across the internet. And in those 24 hours, I feel like there isn’t much to be said that hasn’t already been said. Tom is now Laura Jane Grace, he’s going to stay married to his wife, and together they’re going to raise their two-year-old daughter. Most people have been supportive of Gabel’s – or should I say Grace’s – decision. This shouldn’t come as a surprise since the punk community from which Gabel and Against Me! stem from is based on openness to this type of action. Hell, even the fans who shunned the band after they and their Fat Wreck label mates all went major-label warmly received who they now know as Laura Jane Grace.

While every political and social point has been argued already on a number of message boards, all I can offer is what this means to a fan. I’m not a transsexual. Aside from an extremely interesting sexuality class I took last semester, I’m very removed from the LGBTQ community. What I am though is someone who’s listened to Against Me! for close to nine years now. I was 11 when Against Me! as the Eternal Cowboy dropped back in ’03, and it was around this time that I was first exposed to punk rock. I didn’t know what “Cliché Guevera” was about, but I sure did hate all the kids I’d see wearing Ché shirts without actually knowing who he was or what he did. It was an angry, uplifting, rebellious but still digestible album, and for someone like me entering my teen years, it was one of the key reasons I got hooked on everything Fat Wreck. Fast forward to 2006. At my first Warped Tour, Against Me! was playing last. I was 14, and I caught their first song and split in time to be home for my curfew. I obviously told my friends that I watched the whole set and it was the best set of the day. I don’t even remember the song they opened with.

Fast forward again to 2008. This time, I actually caught their set at Warped Tour. It might have been one of the most perfect sets I’ve ever witnessed. It was humid and sunny, but just as the band began to play, it started pouring rain. Within minutes, thousands of kids were drenched, singing “Thrash Unreal.” I think the stage roof had holes in it, because the band was soaked as well. It was just like the music video, and to a 16 year old me, it was the most punk rock sight ever. That year, it was the best set of the day.

Around that time, Against Me! started going in a new direction. I wasn’t a fan, and I quickly forgot about them. Songs like “Stop!” were the types of songs that I would pretend don’t exist. In fact, other than random nostalgic bursts, I haven’t kept up with Against Me! much in the past four years. When the news first hit my ever-so-quiet Twitter feed last night, I thought this was some kind of joke. And I’m guessing I’m not the only one. After the initial shock, I began to consider the meaning of this. Laura Jane? Why not Tommy? Tommy? And his marriage will remain intact? The sentiment of love between him and his wife is awe-inspiring. And what about Against Me! and their sound? Why would he do this so late in his life, after all the fame he’s built up?

I think that the Gabel/Grace case is monumental because of these questions. Other than Chaz Bono, who’s arguably famous because he is trans, no person with this much notoriety has ever undergone a sex change, especially after making a name for themselves as one sex before switching to another. Not to mention, the notion that a straight man is choosing to becoming a lesbian woman is something that a lot of people find foreign in itself. The reality is, there’s no shame in admitting that Tom Gabel becoming Laura Jane Grace is shocking. It’s okay to be surprised, to find it not normal. Because it isn’t normal. This doesn’t happen every day, and in fact, this is the first exposure to transsexuality for a great number of people. Today, we’re at a point where LGBTQ rights are this decade’s Civil Rights issue. It’s important to note that on the same day that North Carolina announced their controversial amendment banning same sex marriage even more than it was already banned, Gabel’s news came out, almost as if it was a retaliation of some sort, a “screw-you!” to the ignorance of the close-minded. In the following weeks, months and probably years, we’re going to learn about Gabel’s sex-alignment and his journey to the body he’s chosen.  We’re lucky that Gabel is willing to go through this procedure in the open, on account of the notoriety of this case. As an outside commentator I can only watch, offer moral support and, most of all, seek understanding and encourage those in support of the LGBTQ community especially heterosexual, cisgendered people to learn and gain understanding from this issue. More so, I hope that those who still are not comfortable with LGBTQ issues use this as a learning experience and embrace this as a chance to familiarize themselves with this type of stuff.

I’d like to end this editorial by tipping my hat to Mrs. Laura Jane Grace for the tremendous amount of courage and bravery to not only go through her procedure, but to bring public attention to herself. She is offering us knowledge of a topic foreign to many, and a topic that should have far more light shed on it. It’s through knowledge that we’re going to see less North Carolinas, and more “every other place that is tolerant and embracing of LGBTQ communities.” Also, I think it’s punk as fuck to change your sex. It’s the ultimate testament of personal freedom.

The short, acoustic opener “Aut Vincere, Aut Mori” immediately throws us into the story, detailing one soldier’s experience during a time of war and the excruciating reality of it. “Hand Drawn Handcuffs” is an impressive rocker, featuring an impressive display of musicianship. “He’s No Robin Hood” effectively shows what vocalist Joshua Richardson is capable of, while simultaneously showing fans that drummer James Sexton is a force to be reckoned with; this is one the strongest tracks on the album. “Your Strings Are Showing,” arguably the best song on the album, is an emotional punch in the face, featuring strong and emotionally charged lyrics. “All is fair in love and war, and who can tell the difference anymore/I’ve seen your maker’s mark, like a puppet but less entertaining.” The album’s best quality is that it has a purposeful direction and a meaningful story to tell.

“The Champagne Safari,” another song that will more than likely become a fan favorite, is as complex as it is catchy. The guitars are crunchy and engaging and the various changes are expertly pulled off. Sometimes it’s easy to forget that this is the band’s first release. “Proximus Est Finis” is a barrage of noise and insanity, featuring drum work that would give even Rush’s Neil Peart a run for his money. Closer “Vis Major” is an appropriate ending to a fantastic and intelligent album, again showing the incredible range of Richardson’s voice.

Now according to the band, the album details a series of massive earthquakes and volcanic eruptions throughout the world. When the United States is split in two, the east proclaims that they want a new government, with a man of the people in charge. The west wants nothing to do with this and simply wants to be left alone. An idealistic soldier rises to power, and that power eventually corrupts him. He is eventually killed by the west, who revolts against him. To me, this is quite a story to tell (especially in the span of eleven tracks), but Castielle manages to tell it with ease, while displaying their natural affinity for music. Castielle is one of the best albums released so far this year, and for a band so relatively new, that is an accomplishment in itself.