Yeah, I listened to Hopes Die Last’s Trust No One and enjoyed myself. My defense is as follows:

Just as long as you’re not taking this 1000 percent seriously, Trust No One is fun. Fun like Andrew W.K.’s usage of wearing all white. Fun like smashing a beer can against your head because Every Time I Die made you do it.

And the context is this is an Italian post hardcore band formed in 2004 that prepared to dodge a sophomore slump. Indeed, they avoided the trap as last week’s release of Trust No One is (for them) considerably heavier yet still retains that vocal style of guttural meets actual singing. After all, nothing says “Happy Valentine’s Day!” like a bloody zombie child on the front cover.

Now ultimately this proves that whether you mildly like hardcore or like seriously heavy music, there is something for everyone, especially in the beginning half. “Never Trust the Hazel Eyed,” “Sidney Shown,” and “Life After Me Life After You” aren’t all that different from say August Burns Red. Hopes Die Last even makes use of an early record instrumental. Rarely instrumentals make use of instruments, preferring that boring one note technique which is a.k.a. “we didn’t have a bridge.” Without “The Blue,” this record may become way too -core, so props to the skillful appropriateness.

Admittedly, the middle is filler. It’s like okay good enough filler until it becomes utter filler, except for a gem called “Firework.” Secretly you may wonder, “Does this mean the Katy Perry song?” Why yes, yes it does. And if you can’t laugh and have fun with a metal-injected pop song, then go stand in the corner and continue to be the turd in the punch bowl crossing your arms (we’re having a party over here).

But there are songs that certainly can’t conjure up excuses because it sounds like another band is performing them. Awkward and boring is “The Same Old Fears” while “Keep Your Hands Off (feat. Nesko)” brings in what’s popular with the kids these days a-la Korn and Skrillex combination.

I know, I know, the dreaded word: metalcore. But this headline shouldn’t shock you; it isn’t going anywhere anytime soon so condemn some of it and have fun with others like Hopes Die Last. Basically if you feel like you can’t even beat ‘em, then you probably already joined ‘em. Even at the risk of bringing in one cornier element of pop culture…I don’t listen to metalcore often but when I do, I’d choose Hopes Die Last. Now go listen to Slayer.

If you haven’t heard Ekelof’s vocals yet, then you are in for a treat. His unique yet familiar vocal range resonates across the entire album. But if you think that’s where the uniqueness ends, then you’re wrong. Lopez is playing at perhaps his best yet, right on par on the timing with the likes of the late John Bonham himself. DiGiorgio and Platbarzdis work in tandem to provide the off-beat melody and keep this beast of a band somewhat contained.

After you are introduced to Ekelof on the opener “Fraktal,” they delve into their eclectic blend of music with “Fraccions.” Hard-hitting from the start, “Fraccions” brings a wall of sound that slowly but surely builds up as the song progresses. Without any notice, just when you think they’re really going to bring out something menacing, they slow back down to provide a unique experience. This is where the Tool influences start showing, most notably in the guitar and bass arrangements that remind one of the song “Schism.”

On the fourth track “Last Light,” they really start throwing in more of an experimental flavor into the album, with awesome results. First, there are the hand drums and swanky bass line with a few chords of melodic guitar. Ekelof’s voice simply shines above everything else on this track, though it already does with the other tracks as well. They are striving for that vocal-driven and pure melodic sound that you could just get lost in. It’s easily one of the best tracks on the album.

The math side of progressive metal is shown with the track “Oscillation.” Their time signature here couldn’t match any more perfectly with the overall soft flow of the entire album. While it’s heavy and is sure to please those who like math metal, there is also more to it. There is the first verse that follows the formula of the last track, but with a funky bass line to keep it going. They keep this going until the chorus, which reaches atmospheric proportions with the guitar tones used. The funky bass line of the last verse is replaced with the math guitars that actually retain the same force as before. This is one of the best songwriting examples I’ve personally seen in a long time.

Simply put, this album is a must have. Although some people will be quick to relate it to Opeth’s Heritage album, this covers much more than the Jethro Tull-esque album (you can read my review of Heritage Here). Do yourself a favor and buy this album that is sure to be immortalized into rock history.

For those who have yet to discover husband and wife Patrick Riley and Alaina Moore’s band, think of them as a beautifully nautical combination of La Sera and Best Coast: surf-rock meets noise-pop and time travels to the ’60s. Their previous release, Cape Dory, became an internet sensation; this may be due to the catchy, upbeat, likable songs, or it may simply be due to the story behind the album.

You see, Moore and Riley met in college, pulled all their money, sailed the Eastern Seaboard for nearly a year, then made an awesomely maritime retro-pop record that perfectly encapsulated their incredible experience. Many versions of this story have floated about: that the name of the ship was the Cape Dory, that they got married on the ship, that they never planned on making music together. Regardless, everyone loves a good story about two people in love traveling the world and making great music as a result.

Moore and Riley, with third band mate James Barone, have experienced a whirlwind from the start. They didn’t start out playing empty bars and then get discovered; their first show was sold out. The internet blogs and media were so abuzz about this band that they really never got a chance to slowly and discreetly come into their own. With the success of Cape Dory, they really had to outdo themselves for Young and Old.

With this added pressure, the trio felt that what they really needed to have a leg up on their previous releases was to hire an outside producer. This turned out to be a more daunting task than they expected, and they decided to seek out bands they knew had produced themselves for the majority of their career. The first band that came to mind was The Black Keys, and they contacted drummer Patrick Carney who quickly jumped aboard.

Carney’s influence is immediately evident in the record; this is a grown-up sophomore album that stays far from being a slump while not wandering too far from the beaten path that they have so expertly blazed for themselves. This is clearly more general pop-rock than the strictly surf-pop that their last album delivered, and each song has much more variety.

Barone’s drumming brings a much-appreciated upbeat tempo while keeping the songs steady and lighthearted. Similarly, Moore’s vocals perfectly complement the dreamy lyricism and add a unique charm to each track. “Take Me to Heaven” sounds straight out of a 1950s jukebox at a diner, while “Petition” is a cool, modern take on their sound.

This record generally keeps a further distance from the dream-pop of their former releases, and is less Beach House and more Cults or Dum Dum Girls. This isn’t a bad thing at all, though it may not be as captivating as the seafaring story behind Cape Dory and the emotional connection created by it. So, it may not be their best, but it is a step in the right direction.

As with any Daphne Loves Derby song, this track includes three basic elements. Following the band’s usual manner, this song contains strong lyrics and a bulk of emotions connected to some expressive story. It becomes this cliché tale of perplexed love with a high amount of expressed confusion. The protagonist then inquires a vague question, essentially using this track as a way of beseeching a possible explanation.

With that plot in place, the second element -lax music- complements the story in all the correct places. A smooth melody takes a back seat and adds proper amounts of excitement where it seems necessary. The collision of vocals and instruments create this shadowy, yet serene, environment to survey.

While this serves as a product of talented individuals, “Mare Infinitas” is not exactly what I would call a hit. With all of the good this song involves, it is just too familiar to be anything extra exciting. Of course, there is nothing criminal with sticking to what one does best and remaining individualistic. But, with such a long run in something as influential as music, and with so many failed attempts already, I was expecting some kind of phenomenon, or at least hoping for one.

The potential I see in connection with this band is great; I just don’t see the potential being utilized that well. The space allowed for experimenting, without completely falling off the wagon, is wasted on recognizable efforts. I would almost suggest something more risky to kind of take Daphne Loves Derby out of the rut in which they seem so comfortable. I remain hopeful that greater achievements are on the band’s list of things to do, and that eventually their fan base will develop.  The internet is only one way to take control, and I believe proper gratitude is in order. Still rooting for this underdog, let’s hope they eventually get some kind of miracle.

What a spectacular week for bands this was! Even though I personally didn’t find much to see this week, I must say, I’m very impressed with the number of large up-and-comers the tour decided to release this week. Take a look and see who…

Band: Born of Osiris (All Dates)
Check Out: “Exist” from A Higher Place
Similar To: Whitechapel, Periphery, All Shall Perish

My Reaction: Compared to last year, those into the heavier types of metal have good reason to be disappointed so far. With Impending Doom only playing less than half the tour, and Chelsea Grin & After The Burial currently pulling their weight with full runs, there really isn’t much to write home about in terms of heavy metal this summer. However, this week, the tour has announced Chicago, Illinois deathcore quintet Born of Osiris to help level the playing field a bit. Previously going by the names Diminished, Your Heart Engraved and Rosecrance, the band has gone through their share of turmoil in the past nine years they’ve been together. However, through all the line-up changes and touring conflicts they’ve gone through, it seems the band’s luck is changing. Their 2009 release A Higher Place peaked on the Billboard 200 at #73, and their latest Sumerian Records release The Discovery placed at a respectable #87. With a full run on the festival this summer, it seems that Born of Osiris is raring to spread their music to the festival going public.

Would I Recommend Seeing Them?: It doesn’t take a genius to see that, based on reviews I’ve written over the past two months, I’m not particularly into deathcore (I gave After The Burial and Impending Doom a 4/10, while Chelsea Grin received a 2/10). However, after taking a good listen to Born of Osiris’ material (specifically A Higher Place), I must admit, I was quite taken by the technical precision the band displays in their music. There’s something that the band displays on their record that, even though I can’t put my finger on, I found invigorating. It’s aggressive, but doesn’t just try to beat you over the head with or try to be more brutal than their counterparts. With music this enjoyable, it’s pretty tough for me not to recommend Born of Osiris. As long as they get put onto one of the more reasonably sized stages, I have no problem recommending the group to any fan of the genre.

www.youtube.com/watch?v=pk7taAdDNTY

Rating: 6/10

Band: Chunk! No, Captain Chunk! (All Dates)
Check Out: “In Friends We Trust” from Something From Nothing
Similar To: A Day To Remember, Four Year Strong, Fight Fair

My Reaction: Destined to ride that line between brutal breakdowns and synth-laden pop-punk audiences, easycore Frenchmen Chunk No Captain Chunk is making it clear that their mission is  to appeal to the masses of both genre’s fanbases. After signing to Fearless Records for distribution in the United States, these Goonies quoting smart-alecks have been showing their genre-collaborating chops for the better part of two years, tacking onto bills with everyone from Attack Attack to Chelsea Grin. Not only this, but after hearing about some of their onstage antics while on tour (using the Baywatch theme song as intro music, wearing a panda suit, etc), it only makes sense that they’d attempt to top themselves this summer.

Would I Recommend Seeing Them?: I’m all for experimenting with the limitations of a genre, as well as meshing different styles of music. However, I feel as if when Chunk was creating Something For Nothing, there was a linguistic miscommunication. Just looking at the lyrics for some of their music (“Hey dudes are you ready to / Understand why some of your friends are true”), you can tell there’s a gap somewhere between the United States and their Parisian counterparts. However, even given this, there’s still little doubt that a lyrical blunder every now and then will affect how they perform in a live set. So, even though the band may not be the best musically, they probably could still win over audiences this summer.

www.youtube.com/watch?v=88hfEqJaCtE

Rating: 5/10

Band: Divided By Friday (6/16-7/3)
Check Out: “Growing Up” from Prove It
Similar To: Fall Out Boy, Panic At The Disco, You Me At Six

My Reaction: In a sea of punk and metal this week, it’s nice to see a little bit of pop showing up in the announcement. Given that there wasn’t a ton for the genre’s followers this week, it certainly seems that Laurinburg, North Carolina’s Divided By Friday will easily be able to sweep up any Warped-goers who’re looking for their chance to discover something new. Divided By Friday’s latest Hopeless Records release Prove It has many winning qualities about it, but probably the biggest compliment I can give is how it well it takes the best attributes from their alt-pop colleagues. Because the band’s lead singer/guitarist Jose Villanueva sounds strikingly similar to musicans like Patrick Stump and Brendon Urie, their material brings back a certain nostalgia had by those greats. I’m sure as the band continues to gain exposure, people will see the resemblance, bringing fairly large crowds to their two week stint.

Would I Recommend Seeing Them?: As I continue to delve into the band’s material, live performances, etc, I really do believe they have the potential to be the real deal. They have a sound that has great universal appeal, are on a label already known for showcasing great pop acts, and are in a position where they allow themselves to be corrupted into changing their style just yet. Also, something to watch for during their set: the album Prove It’s best track “Face To Face” features a cameo by other up-and-comer Jenna McDougall of Tonight Alive. With all of this drive at the beginning of their career, one thing is becoming very clear: this is the time for Divided By Friday.

www.youtube.com/watch?v=F_gJIB8dI0A

Rating: 7/10

Band: Motionless In White (All Dates)
Check Out: “Immaculate Misconception” from Creatures
Similar To: The Word Alive, Black Veil Brides, Marilyn Manson

My Reaction: Emerging from the muck of a currently overcrowded metalcore scene, Scranton, Pennsylvania sextet Motionless In White is ready to stand out and make a name for themselves with a signature style. With lyrics as dark and controversial as their overall stage presence suggests, Motionless In White is quickly showing that nothing will stop them until they reach total domination of their genre. They throw down on enemies in “Immaculate Misconception”, burn their past loves at the stake in “Abigail” and envision their own demises in “Puppets (The First Snow”. As a result, this type of horror-related imagery and lyrical content has predictably gotten the group in hot water with parental protest groups. However, it’s very clear that the group couldn’t care less, touching on this issue in their latest video for “Immaculate Misconception”. As the band close into the final stages of supporting their 2010 Fearless Records debut full length Creatures, vocalist Chris Cerulli (or by his stage name Chris Motionless) and the gang are prepping for their first ever full length run on the festival this summer.

Would I Recommend Seeing Them?: By my guess, anyone who’s been even the slightest involved with the spike in popularity with the metalcore scene has already had their ear talked off about how Motionless In White’s music is certainly causing a stir for reasons of controversy. However, I feel that if the slightest bit of pressure were taken off of this factor, people could see how innovative the group is attempting to be. To be frank, it takes a lot to write about the things you hate, let alone so passionately and deliberately hateful toward them. Because of this, anyone who shares a similar gusto for anger and visceral emotion should be very excited for Motionless In White this summer. However, anybody that doesn’t may just as well skip them.

www.youtube.com/watch?v=vov0yT7qnVI

Rating: 6/10

Band: Transit (All Dates)
Check Out: “I Think I Know You” from Listen & Forgive
Similar To: The Early November, Saves The Day, Into It Over It

My Reaction: 2011 was a great year for pop-punk. Excuse me, let me rephrase that…last year was an AWESOME year for pop-punk. With fantastic releases from The Wonder Years, Man Overboard, New Found Glory and Boston, Massachusetts’ Transit, a lot of my “Best-of” list at the end of the year ended up consisting of albums from this genre. For me, however, Transit’s Listen & Forgive is definitely one of the albums that stuck with me the most. Though it was only released in October of last year, it has slowly been climbing the “Most Played” tab on my iTunes account. After spending countless years of DIY touring, shifting labels and having a can-do attitude, the band has signed with Rise Records, which will surely help them gain a wide variety of fans, both of the pop-punk and indie-pop variety. With crisp, atmospheric musicianship and smart, honest lyricism from lead singer Joe Boynton, the band’s newest release will surely find a place in your heart by the time Warped Tour rolls into your town this summer.

Would I Recommend Seeing Them?: Definitely. Like I stated earlier, Listen & Forgive really did a number on me when I first heard it last year. Within the album’s eleven tracks lie so much truth, inventiveness and desire to be more than just good enough. It’s the kind of album that five years from now will remain just as surreal and memorable as your first initial listen. Better yet, after I saw their set last year at Bled Fest, I can personally speak on the high levels of energy and entertainment they bring to their live performance. With both their material and their performing ability, I highly recommend seeing Transit. It’ll be one of the best decisions you’ll make that day.

www.youtube.com/watch?v=SUg3seitwiI

Rating: 10/10

Band: Wax (6/16-7/9)
Check Out: “Music & Liquor” from Scrublife
Similar To: Grieves, Blueprint, P.O.S.

My Reaction: Def Jam Records has had a long, illustrious career as one of the most respected hip-hop labels of all-time. Artists and groups such as Kanye West, Ludacris and Beastie Boys, for example, have made large impacts for the genre of hip-hop, thus shaping Def Jam Records into a monumental success. As for the future of this label, Washington D.C. native Michael Jones, a.k.a. Wax, could pave the way for forthcoming success. Taking influence from every artist from N.W.A. to Guns N’ Roses, the hip-hop up and comer has been actively touring for the better part of a decade, showcasing half a dozen different LPs. Now currently in support of his latest mixtape Scrublife, it is definitely clear that Wax is coming to make his mark on an already hip-hop heavy edition of Warped Tour.

Would I Recommend Seeing Him?: When taking into consideration that this year’s Warped Tour already has more than enough hip-hop to go around this summer, once again, the festival-going public must decide which rapper to decide to see. Given this, I find that Wax is somewhere in the middle ground; he really isn’t an artist you need to see, but not one you should avoid either. His music is pretty respectable in terms of production and lyricism, but I’m not sure yet whether his music will transfer to an energetic live set or not. So, overall, it depends on whether or not you feel Wax’s music is deserving of checking him out.

www.youtube.com/watch?v=4pFp8pcHeDo

Rating: 5/10

I’m very happy with the direction the tour took this week. Over the past two months, it seemed that no matter which bands got announced, there was always an inevitable sense of complaint. However, with this week, it’s refreshing to see that there are bands of every demographic being represented. Let’s hope the tour keeps up the good work over these next few weeks.

On stream day for Some Nights, I found myself being drawn into a similar cycle. The first listen left me feeling somewhat cheated. It felt like nearly everything that made Aim & Ignite so wonderful had been tampered with. The lush orchestrations and full sound had been replaced by programmed drums and abrasive instrumentation. The perfections of Nate Ruess’ voice had been disguised by multiple effects. Portions sung by children? Really? Were my purposefully low expectations actually being met rather than exceeded? Rather than leaving my initial reaction as it was, I played the album again. And again. And again. I can’t stop. It’s easy to pick up on changes and hear them negatively when you want something to stay the same, but that doesn’t mean that change is bad. With this album, fun. has reinvented its sound, creating magic in a blend of new elements and the old ones that made the band so good in the first place.

“Some Nights Intro” bears a sense of both whimsy and depth, finding a tone that falls somewhere between the tracks from the band’s debut and Queen. The lyrics are intimate and sweeping, while the instrumentation manages to fit the same description, all within a mere two minutes before the huge opening of the title track, which is itself an anthem for the insecure and optimistic. Pounding drums propel the track forward at a marching pace as Ruess delivers a powerful performance. His lyrics are very strong throughout, exposing some very deep and personal thoughts and referencing his earlier work. This track introduces a section of vocoded vocalizations, also to be found on later tracks. Though it’s definitely an acquired taste, it manages to fit in before the guitar play near the end of the song. Immediately following is lead single “We Are Young.” Finding popularity through its inclusion in a car commercial and Glee, it works even better in the context of the album. Anthemic in a different way from “Some Nights,” it has grown on me exponentially in the months since I first heard it. Though I would’ve liked to have heard Janelle Monáe in a greater capacity, the track doesn’t necessarily need it. This is simply a great pop song, more than worthy of any and all radio success it sees.

Continuing with the album’s strong start is my personal favorite track, the immensely positive “Carry On.” Perhaps the track that most resembles the band’s previous work, it features a dynamic buildup, a catchy chorus, and one of the most striking lyrics from the record: “But I like to think I can cheat it all, to make up for the times I’ve been cheated on.” The song is full of great storytelling, but that line really sticks out to me with each listen. Unfortunately, the beauty of “Carry On” is somewhat destroyed by “It Gets Better,” a largely dissonant track full of overpowering drums, vocal effects, and repetitive lyrics. While I can appreciate the song in acoustic form, this version of it ruins the album’s flow by trying too hard with the overproduction of nearly every element, leaving it my least favorite of the record. Luckily, “Why Am I the One” brings back some of the dynamic qualities the band is so great at developing, featuring a huge singalong chorus, quieter intimate moments, and more interesting instrumentation than the previous song. The strings and vocal harmonies are particularly strong parts of this track.

“All Alone” has proven itself to be another one of the stronger cuts on the record. If there’s a song that could find greater radio success than “We Are Young,” the upbeat nature, fanciful and contemporary instrumentation, whimsical back-and-forth vocals, and perfect hook of the words “how do you cry with inanimate eyes” make this the one. Immediately following is “All Alright,” which features a great melody hidden behind poor execution. Aside from the bridge, the song feels a little bored with itself, with surprisingly blasé vocals and the children’s choir doing little to redeem what could have been another powerful song. “One Foot” is another song that has grown on me since the first time I heard it, also benefiting from its place on the record. Though the horns get a little repetitive, this is a track with some great lyrics that will be a lot of fun at the band’s shows, when it’s appropriate to move around and dance a little bit. The breakdown in the middle is one of the more powerful portions of the album, with the lines about Ruess’ father living on through the song being particularly touching.

Closer “Stars” toes the line between brilliance and insanity. The instrumentation is wonderfully unique to everything else the band has put out, and Ruess puts on one hell of a vocal performance that is bolstered by fantastic lyrics. However, the addition of vocal effects adds a polarizing element. It’s no secret that Ruess can sing, and the effects are there as a stylistic choice rather than to correct his already spot-on pitch. While I’d rather hear his voice in its natural state, the change does match the space-inspired instrumentation and will find many fans, particularly others who enjoyed Kanye West‘s most recent solo release. Either way, each band member does a wonderful job on this song, and it’s up to personal preference whether the vocal effects make this song better or not. Bonus track “Out On The Town,” included on all forms of the album’s release, is perhaps one of the best songs of the whole bunch. The lyrics outdo much of the album proper, the melodies are infectious, and it works as a nice coda to Some Nights. I particularly enjoy the layered vocals towards the middle of the track, and the ending makes the album finally feel complete.

Though this album might come across as disappointing to some fans (just as it did for me on my first listen), I wholeheartedly feel that this is a quality record. While some of the tracks might suffer from lackluster production, the songs themselves are very, very strong, with good instrumentation, great melodies, and even better lyrics. The only negative thing that might be said about this album is in respect to the route that the band took and the changes introduced in terms of sound, since they might not be appreciated by those who favored Aim & Ignite and hearing Ruess’ voice in a more natural capacity. With that said, the album itself (aside from “It Gets Better”) has a great flow about it, somehow making nearly every song sound better in context. If the record continues to grow on me as it already has, it might surpass its predecessor, and that’s never a bad thing, particularly when that predecessor was such a masterpiece. Some Nights might not be for everyone, but it deserves at least a handful of listens with an open mind. Trust me, if you give it that, you won’t want to stop.

I’m a drummer, you know? I’m a really good drummer, and…I’m just living in a guitarist’s world. The line came to me after hearing a quote by Adam DeMamp (Comedy Central’s Workaholics), where he somberly states “I’m just a lat guy, you know? I’ve got these amazing lats, and… I’m just living in an ab guy’s world.” Obviously, the correlation is a bit of a stretch on my part, but in my mind it seems to work. Historically, guitarists receive most, if not all of the glory in the music world (aside from the singer of course). There are close to an infinite amount of publications praising the top guitarists of today, yesterday and a combination of the two. While I wholeheartedly agree with this credit, as a drummer, I just want a bigger piece of that pie. I want to live in a world where we honor lats…I mean, drummers.

Not only do I plan on honoring the drummer, but I desire to call out the ones of my generation. The “Y-Generation” is categorized by any person born between 1982 and 2001. My reasoning is quite simple. Take a brief moment away from this article, open a new tab and Google search “Best Drummers of All-Time.” I’m going to pass and just guess as to what you will find: Tool’s Danny Carey, Dream Theater’s Mike Portnoy, Rush’s Neil Peart, The Who’s Keith Moon, Led Zeppelin’s John Bonham, Big Band great Buddy Rich…You get the picture? While I again agree with all the praise they receive, I also have another point to drive home: Why are all these percussionists part of a band from your parents or grandparents generation? I refer to this condition as “Rolling Stone Syndrome.” Don’t get me wrong, Danny Carey is my idol. I am simply trying to balance the recognition – something Rolling Stone Magazine has a hard time accomplishing.

Here are some drummers from the Y-Generation that you should know:

Aaron Gillespie (Born July 18, 1983) – Underoath (1997-2010), The Almost (Recorded for Southern Weather in 2007)

Drumming is difficult. Drumming and singing is extremely difficult. With that being said, I base the credit solely on Gillespie’s drumming abilities. He was listed as one of DRUM Magazine’s Top Drummers of 2010. The fact that he is no longer behind the kit is a bit unsettling, but I have always claimed that Aaron Gillespie is the most talented musician of our generation. The proof is in the pudding folks. Listen to: “Desperate Times, Desperate Measures” off Lost in the Sound of Separation.

Click here to view the embedded video.

Brett Powell (Born March 10, 1986) – The Human Abstract (2004-Present)

Jazz musicians who cross over into metal bands should be more prevalent. Proof: Brett Powell. The entire band is technical beyond means, but Powell puts most of the greats to shame. Watching the man perform is a spectacle and I encourage it. Amidst all the lineup changes in such a short period, Powell has remained a thunderous constant for THA.

Click here to view the embedded video.

Moe Carlson (Born February 21, 1986) – Protest the Hero (1999-Present)

I always try to plug something with punk roots/influence. Much like jazz to metal, punk to metal just seems to work for me. Carlson does an amazing job mixing the technicality of metal with the speed of punk. Fan videos dedicated to his work have filled up YouTube making it apparent I seem to share this admiration for his technique and style. The toughest drummers to imitate are the ones who don’t follow any set structure; that holds true with Moe Carlson.

Click here to view the embedded video.

Matthew Nicholls (Born March 22, 1986) – Bring Me the Horizon (2004-Present)

Nicholls doesn’t use triggers during his live shows, which may surprise people. The bass drops are just a matter of precision timing. The growth he has shown since Count Your Blessings should be noted, as he has grown in technicality, creativity and speed.

Click here to view the embedded video.

Matt KuyKendall (26-27 years old, date of birth unknown) – All Shall Perish (2002-2010)

KuyKendall is a big fan of complex polyrhythms and limb independence, which he says are at the forefront of drumming today. All of his techniques and beats are self-taught. Apparently, lessons just weren’t his thing. It is a travesty that he and All Shall Perish parted ways in 2010.

Click here to view the embedded video.

Cartland Blake Richardson (26-27 years old, date of birth unknown) – Between the Buried and Me (2004-Present), Glass Casket (2001-Present)

Aside from Aaron Gillespie, Richardson is probably the most acclaimed drummer on this list. He is categorized with Danny Carey, Mike Portnoy and Gavin Harrison (Carey and Portnoy previously mentioned) as one of the top progressive drummers by DRUM Magazine. Richardson was also lucky enough to solo with Portnoy at the Progressive Nation Tour in 2008. While he is known for his blast beats and double bass, he is superior in blending death metal with the odd-timing signatures of jazz.

Click here to view the embedded video.

Andrew Forsman (Born September 2, 1985) – The Fall of Troy (2002-2010), 30 Years War (2002)

Mathcore and prog-rock are two genres full of musical talent and ability, and a perfect example was The Fall of Troy’s Andrew Forsman. He along with the rest of the band used intricate song structures and a complete disregard for the conventional to stand out from other bands/artists in the same field of study.

Click here to view the embedded video.

Hannah Ford (21 years old, date of birth unknown) – The Hannah Ford Band

I may have felt it necessary to include at least one female on this list. However, Hannah Ford has been noticed by DRUM Magazine and was listed on their Rising Stars list two years in a row (2010 and 2011). At 21 years of age (per Facebook), she already has a band named after her (yes, a band named after the drummer; Fleetwood Mac?) in which she drums and sings. Ford also has a one woman multi-media show called “Peace, Love & Drums.” She has won multiple awards in the jazz genre, but she dabbles in all areas. Oh, and I’ve never seen anyone punish a drum-set so intensely while smiling. Cute.

Click here to view the embedded video.

Donnie Marple (Under 30, date of birth unknown) – Guitar Center 2007 Drum-Off Champion

Donnie Marple, although only in his early 20s, is a jazz drummer brilliant beyond his years. He is a perfect example of an artist who could fit into any band and create a backbone with dangerous strength. Unfortunately, drummers typically have to play to the rest of the band’s strong suits, making it very hard for him to shine. In the video, pay attention to the last minute and a half.

Click here to view the embedded video.

Calum Blair (16-17 years old, date of birth unknown) – 2012 Young Drummer of the Year

At only 16 years old, Calum Blair has developed a technique that ranges over several genres. Much like Donnie Marple, Blair is a mastermind behind the kit. He makes it look as though any person can sit back there and ball-out. When a drummer makes it look easy, I mean that their movements are few and far between. When you exert too much energy with the upper body, you wear down and you see what is known as “Sloppy Drummer.” A great drummer’s feet do the majority of the moving and that is the situation with Blair.

Click here to view the embedded video.

Now that we have restored a little bit of order to the World of Drummers, I can rest easier. Maybe in 20-30 years we can look back at this time and say “Damn, those were some of the best drummers ever!” Hopefully Google is still around.

Kiros has a sound that easily attracts listeners from multiple genres – punk, rock, alternative, indie, and even metal. Their heavier songs bring remnants of more metallic artists like Saosin and even bands like old school Hawk Nelson, while their softer tracks punctuate more along the lines of Kutless. Lay Your Weapons Down is overall more diverse and captivating than Kiros’ previous works, but it still seems a bit restrained for a band that had years and years to process their thoughts and produce something enticing.

This record has the slow ballads, the punkish anthems, and the fun sing-alongs. It kicks off with some catchy rockers, while a few slower songs here and there give listeners time to take in Kiros’ pop-punk/alt-rock sound. “Outlaws And Prodigals” is extremely satisfying, emitting jaw-dropping melodies, a succulent chorus dominated by angelic strings and acoustic guitar, and a sweeping tone that is as beautiful as it is outspoken. It’s one of the band’s more faith-based songs (they’re a Christian band that rarely sounds too preachy or stale), and it seriously blew me away.

I wish I could say that with all of the other tracks. Though power chord-happy songs like the energetic The Classic Crime-esque “One Thing” and “Good Intentions, Bad Directions” shine with their glimmering melodies and positive lyrics, they don’t do anything new or exciting to those anticipating something with twists and turns. Despite this lack of originality, I still found plenty of enjoyment in most of the tracks, as they were as solid as it gets. “Unshaken” is a personal favorite, where singer Barry Mackichan bolts out the lines “We are, we are, we are unshaken / we are, we are, we are wide awaken,” a true testament that touched me deeply.

As a whole, Lay Your Weapons Down is the band’s most tightly knit record, and it’s probably their most solid. I just wish it didn’t take them so long to make, as I had been waiting for this release forever. Though I was fairly satisfied with the overall execution of both soft and heavy songs, I was also a bit distraught by the lack of personality and uniquity that Kiros displays; but then again, they’ve never been a genre-defining act. That being said, I still quite enjoyed Lay Your Weapons Down, as it is a record that is easy to pick up and find fulfillment in.

Recorded by Jay Maas, guitarist for ‘Chusetts-based Defeater, Tycoon is a tour-de-force from front to back as it barely lets up during the 11 tracks contained here. “Maple Boy” sets the pace, opening with addictive yet gritty melodies that morph into palm-mute-tinged guitar lines to back vocalist Tom Rheault’s mildly raspy, although heavily passionate voice. While certainly not as technical or blistering as aurally possible, the catch and release nature of these licks – both vocal and instrumental – make this disc tough to forget. “Dried Piss” ups the punx with a slightly tougher vibe hovering over the breakneck drumming and catchy chord structure that spikes the mood with a healthy dose of mild aggression. Yet even with this swerve, the overall mood isn’t ruined, as “Checkmate” brings us one of the catchier, uplifting choruses of the disc (‘Say it like you mean it, I will not be defeated!’), while “Mountaineer” climbs a less dense melodic front and turns the infectious meter to its max, creating something even the not-so-punk kids can get into.

The musicianship isn’t all punk chordage and amped up backbeats, with “New Brains” giving us a slightly atmospheric introduction ripe with strung out guitars and toned down drumming before bursting into the usual fare. The mid-tempo sections of the disc also hit just as hard (“Skyscrapers”), sounding more like a pop band on steroids with all the hooks and catchy-as-fuck melodies seeping from these moments. “Turn In My Throat” is a perfect closer, bringing finality – both musically and emotionally – to the disc with its drawn out drum-led outro, a live show-like ending to the album.

In a musical landscape currently infatuating itself with emotionally charged pop-punk, No Trigger’s Tycoon has brought a sense of brash urgency to the currently saturated sound, practically trumping almost everything else this scene has had to offer as of late.  I can only hope this won’t be the last time we hear from these guys, but to all the bands hoping to release anything remotely pop-punk this year – and those who are looking for something great among the sea of mediocrity – Tycoon is easily one of the best things I’ve heard in 2012 so far.

This past October American audiences got a taste of the future of pop music when Girls’ Generation, along with other K-pop groups, played at New York’s Madison Square Garden. It wasn’t too long before the media started catching on; publications such as Spin ran their own articles on the genre, while TeenNick scored a deal with Wonder Girls to air their live concert throughout February of this year. As a fan of K-pop I have always believed that they have the right idea as to what pop music should sound like. With the K-pop revolution set to begin, I believe it’s time for you to get acquainted with the 10 records that made 2011 a great year for the genre.

Girls’ Generation – The Boys 

As a huge fan of K-Pop I must say this is a masterpiece in the genre. The Boys is filled with perfectly catchy tunes that show off both sides of the Korean phenomenon that is Girls’ Generation. Songs like “Vitamin” and “Telepathy” give you your dose of cutesy pop tracks. On the other hand “Oscar” and “Trick” show the more empowered side of these girls. The production in this record takes a backseat and allows the nine (that’s right, count them) girls to shine. Main vocalist Jessica in particular has her moments of glory in “Say Yes” and “How Great Is Your Love.” If you only feel daring enough to check out one K-Pop release from 2011, make it this one.

The Boys is available on SM Entertainment.

After School – Virgin 

Even before the release of their debut record Virgin, After School were already making a name for themselves. In the span of two years they released five single albums, including 2009’s excellent Diva. The singles promised a band that had personality and had some of the best production in the genre. The full-length does not disappoint. The vocals are great, but what really shines is the rapping, in particular the reworking of “Because of You.” The production is still some of the best K-pop has. First single “Shampoo” not only has fantastic vocal delivery and top notch rapping from Nana, but also has one of the year’s best beats. After School is one of those groups that has a lot of personality (Don’t believe me? Look up their live performances) and luckily has the music to back it up.

Virgin is available on Pledis Entertainment.

Orange Caramel – Shanghai Romance 

Being a single album, Shanghai Romance is short and to the point. This After School sub-unit (a small group featuring certain members of a bigger group) takes some of the group’s most talented members and puts them to work making some cuter music. While their first couple releases contained some great tracks, they were overall pretty run-of-the-mill. This single finds the three girls performing some more ambitious music, more thematic and original. With their debut full-length scheduled for release sometime this year, this single has made it one of my most anticipated releases of 2012.

Shanghai Romance is available on Pledis Entertainment.

T-Ara – Black Eyes 

The girls in T-Ara are undoubtedly classy. They may be heartbroken but they don’t pout about it. They handle it with class and poise. Their songs have some mellow vocal delivery, but what really shines is the production. Certain songs like “Goodbye, Ok” have wonderful strings that give off the feel of lounge music. If these girls’ beauty doesn’t win you over, then their music definitely should.

Black Eyes is available on Core Contents Media.

Lady Jane – Jane Another Jane 

She’s been releasing singles since before most of the artists on this list were even groups. However in 2011 we got her first concrete piece of work, her debut mini-album Jane Another Jane. The album has some of the most danceable K-pop tracks of the year. Case in point “Janie” and “Love Treatment,” which are heavily influenced by ’80s synth-pop. Her other tracks are also quite interesting, in particular “Jjak” which adds a male voice to the mix courtesy of H.O.T.’s Tony An. The mini-album was one of the year’s most interesting K-pop releases, and her debut full-length should bring nothing but greatness.

IU – Last Fantasy 

IU’s music is a world in which cinematic strings and arrangements meet catchy pop hooks. The record could easily work as the soundtrack to a beautiful movie. Although if movie soundtracks aren’t your thing then IU’s upbeat voice and bouncy production should captivate your heart. Last Fantasy is easily one of 2011’s most ambitious and complete K-pop records.

Last Fantasy is available on LOEN Entertainment.

Dal Shabet – Bling Bling 

For their third mini-album of 2011, Dal Shabet took a page from the J-pop rule book. The idea behind this music is: The more energetic and bouncy, the better. This particular K-pop group sounds like they are having the time of their lives in this mini-album. With vocal melodies that resemble Japan’s AKB48 and production that leaves it up to the girls to shine, they are one of the year’s best new K-pop bands.

Bling Bling is available on Happy Face Entertainment.

Sistar – So Cool 

Let’s face it, dancing can be fun. This is kind of why cutesy songs will not satisfy all your K-pop cravings. If any group knows how to party and make you dance it’s Sistar. The production behind songs like “Girls Do It” and “Push Push” is what really makes the group shine. The songs in So Cool are some of the most aggressive and coolest in the genre.

So Cool is available on Starship Entertainment.

5dolls – Charming Five Girls 

One of the main problems with some K-pop groups is that they are rushed to fame by adding members who are way too young. Although some of the members in 5dolls are some of the youngest in the genre (with two members being sixteen), they have the right idea on how to perform. They balance out the youth that young vocalists should have with the confidence an older one should have. The songs on their first EP showcase the amount of training some of these girls have gone through (with one member being a part of the original Girls’ Generation lineup and another having already led another successful group) but still maintain their excitement thanks to their rookie members.

Charming Five Girls is available on Core Contents Media.

Kara – Super Girl 

Where the girls in T-Ara are classy and the ones in Sistar are aggressive, the members of Kara are charming. Their voices are cute without being too sugary or obnoxious. The beats behind their performances are filled with chimes, which gives the record its own unique sound. One of the group’s main assets is their huge choruses and hooks in English, so American audiences can sing along once K-pop does take over the world.

Super Girl is available on DSP Media.