It’s hard not to immediately like an album you can hold in your hands and admire, physically. After picking up Hit the Lights’ newest album, Invicta, in vinyl form, I was immediately in love. The album cover, the size of a brand new vinyl release fans have waited on for three years, it made everything more exciting to have it in my hands a week before the scheduled release date.  It might have been the euphoria continually rushing about from their epic and brilliant set at the Paradise in Boston, but even still, this album had been set up to succeed for a long time.

After hearing the entire album, Hit the Lights manages to mostly live up to the high standards that listeners will have after the prolonged gap since the sophomore album, Skip Schools, Start Fights. Even though two of the three songs on Invicta – EP, the preview EP to this album, are probably the most addicting of the 11 song effort, the rest are all still a huge step up from their previous work.

Ever since the departure of lead-singer Colin Ross, it seemed like Hit the Lights struggled to find their true musical calling, especially with their previous label pushing them to be a certain type of sound and group. It also had gotten to the point that, according to new lead singer Nick Thompson in an interview with alternativeaddiction.com, the band members realized they were trying to fit into a mold they could no longer fill. It’s hard to imagine Hit the Lights without the raging, honest and killer lyrics and pop-punk melodies, but even that style for them wasn’t the same after the loss of Colin

In all honesty, I hated the slightly new sound and style that this band took on when Thompson filled Ross’ role. I still go back and watch the acoustic version of the “Hidden Track” from the first album repeatedly and my heart melts every single time I hear Ross transition into the bridge; “Here’s the creepy part…oh you’ll see.” It took almost a year for Skip School, Start Fights to grow on me, and even though now I actually like hearing the songs and sing along, the album never remotely lived up to the previous album, This is a Stick Up…Don’t Make It a Murder, which might have been one of the coolest albums of the decade.

How this band, three years after starting on what seemed like a downward spiral, reached Invicta, is still a mystery. The most unbelievable accomplishment of this album is one of the songs included on the EP, “Earthquake,” which is also what the band used for several of their previews and teaser videos. My difficult relationship with Thompson was completely rewritten, with an entirely newfound respect and admiration. Instead of comparing him or the band’s style to the era of Colin Ross, this “new” Hit the Lights can be put into their own individual category again and out of the shadow of the past. “Earthquake” is the best representation of all the new things the band brought to the table as they move on.

It’s clear from “Invincible” and on that that they’ve stepped up their game in numbers. Even when playing live in Boston, they had those extra musicians for more percussion and sounds all around, and the extra guitar and drums come through quite well on all the songs on the album. What “Earthquake” really displays is their brilliant mix of Coldplay-esque percussion, typical punk drum set and vocal style, power rock guitars and moving lyrics. This list of very different things basically sums up to show that, somehow, Hit the Lights has found their home in a little bit of everything.

An even better example of this is “Faster Now” and “Gravity.” The intro to “Gravity” and much of “Faster Now” are very produced, with many eclectic and spacey sounds (a recurring theme on this album). The melodies and harmonies follow the same space-bound theme, represented by the smooth, rolling guitar and vocal line, with a lot of bouncing around sounds and synthesized pings in the background to complete the style. The lyrics (such as, “I’ve been orbiting but you could pull me through,”) complete the theme and add a final layer of an elemental, earthy and tribal feel, supported by the previously-mentioned pounding drums.

This new, elaborate style is almost completely successful on this album, except for the fact that when listening straight through, a lot of the songs tend to blur together and become a little too similar. For the next album, the only advancement they could offer that would satisfy most would be to make a similarly cohesive whole album, but make the songs, or even one or two songs, a little more individual and unique. This, however, is a very minor case, and it only comes from extremely repetitive listening.

The cherry on top of this oddly perfect Invicta sundae is that, despite their fresh style and improvements, hints of the band they got their start from are still there. This is most obvious in a song like “Take Control,” which uses the heavier punk sound, reminiscent of “The Call Out (You are the Dishes)” or “Stay Out.” Hit the Lights will bring back fans of the Ross era largely based on that final factor, but will keep any and all fans based on their huge re-do of the pop sound attempted on Skip School, Start Fights. The one thing that made this new release a success compared to the sophomore effort is their ability to leave behind the expectations of a punk-pop band.

So when fans, new or old, glace at the oddly entrancing (mildly hipster) nebula on the cover of Invicta, it will be hard not to imagine the new world that waits ahead. After having heard the magic that Hit the Lights brought to this new endeavor, it’s hard not to imagine how far they can go if they keep this going, and only climb up from here.

By: Dee Hibbard

A lot of people are talking about Drake’s new-released album Take Care. I have to admit when Drake’s first-album Thank Me Later released in 2010 I wasn’t convinced a teen actor from Degrassi could rap. But honestly, there’s a reason why Drake has gotten recognition in the rap scene.

Now, the Toronto actor-singer-rapper has just released his sophomore album with cameos by Rihanna, Nicki Minaj, Lil Wayne, and Stevie Wonder. The long-awaited album, which leaked online before it was released, is finally here and Drake has come a long way from being “that kid from Degrassi.”

In the song Marvin’s Room, a drunken plea to an ex-girlfriend, Drake even mentions he’s “…having a hard time adjusting to fame.” But Marvin’s Room isn’t the only song on the album that’s honest and candid. The album, which is hip-hop and R&B influenced, is a lot more melancholic than what we would hear from other rappers.

Overall, the album is a story about Drake’s rise to fame and he isn’t afraid to express his feelings about it. Now, I wouldn’t claim Take Care is in the running for Album of the Year but Drake is definitely worth a listen. You’ll be surprised with what you might find.

Here are my top five favorite songs from the album (in no particular order):

1. Make Me Proud ft. Nicki Minaj

2. Marvin’s Room

3. Take Care ft. Rihanna

4. Over My Dead Body

5. Doing It Wrong ft. Stevie Wonder

By Alexis Medina

By Ben Brondsky, intern for the Fleshy Fresh

Do you ever think the BU staff intentionally coincide midterms with the week leading up to Halloween? It’s pretty smart; make sure the kids take all of their tests before they get too wild on Halloweekend. But, because of all the added stress students have to take it out somewhere. My way of relaxing was by going to three concerts in a week. Ra Ra Riot, Portugal. The Man, and New Found Glory all played in Boston within the given week.

I saw Ra Ra Riot on Thursday, October 20th at the Paradise Rock Club (I’m slowing becoming a regular there). They had two opening acts that were surprisingly both different and good. I forget both of their names but they deserve a small mention. The first band had three members but they’re usage of loops and different instruments made it seem like they were a band of six of seven. The second band rarely sang and was like an MGMT-jam band. Both were entertaining and got the crowd ready for Ra Ra Riot. Ra Ra Riot came on at around 11 pm and started the show off well. Ra Ra Riot consists of: a singer, bassist, guitarist, drummer, violinist, and cellist. The violinist’s bedazzled violin had me memorized for a good five minutes. The songs were tight and band seemed comfortable with the crowd and each other. The concert was sold out so it was a big crowd and people were into it but they weren’t doing any crazy dances. Ra Ra Riot’s music is indie-chilled-out-rock so I wasn’t surprised when I didn’t see anyone dancing. The crowd was definitely a bunch of “young professionals”. Ra Ra Riot mixed in songs from The Rhumb Line as well as The Orchard and came back for an encore. However, they didn’t come out to sign autographs or pose for pictures, which is understandable, but Motion City Soundtrack is the only band I’ve seen do that so far. It was a good concert for a Thursday night; relaxing, easy-going, and fun.

I saw Portugal. The Man a few days later, also at the Paradise, on Saturday. Don’t ask me why their name is Portugal. The Man. I’ve been wondering that for years and Microsoft Word continually yells at me for the misspelling. They’ve been a band since 2004 but their first LP came out in 2006, Waiter: “You Vultures!”. Since 2006, Portugal. The Man has released an album every year. That’s six albums in six years. Think about that; no one does that anymore. The last bands I remember doing that? The Beatles and The Rolling Stones. I arrived late to their concert so I missed the opening act but I got there just in time for Portugal. The Man. They had brought their own light-bulb contraptions that connected to each other and were above the band while they played and flashed different lights. They had a really good accompanying light show. They played songs stretching from their six albums and they would transition most of the songs into each other so it was almost like one big song. I really enjoyed that because there was a good amount of jamming that went on. The singer’s uniquely high voice sounds exactly the same in person which I was happy about. They also came out for an encore and were overall really good.

On Thursday, October 27th I saw New Found Glory on their Pop-Punk’s Not Dead Tour at the House of Blues. The House of Blues is a lot bigger and more strict than The Paradise. I interviewed the lead singer from NFG, Jordan Pundik, and one of the guitarists, Steve Klein. Both of them were nice and made me feel relaxed and welcome. The interview should be coming soon!

The House of Blues has three levels with the second and third containing seats. NFG brought four bands on their tour and all of them are in the pop-punk scene. This Time Next Year, Man Overboard, The Wonder Years, and Set Your Goals. I had heard of both Set Your Goals and The Wonder Years and liked both. The crowd at this concert was a lot bigger and crazier than either of the crowds at the Paradise concerts. There were mosh pits, tons of crowd surfing, and a lot of people falling. My friend (who shall remain unnamed) got kicked in the face, the stomach, and pretty much everywhere else and had to sit out for NFG (she’s still a trooper though). New Found Glory came on and was very energetic. They made the crowd even wilder, which I didn’t think was possible. Their songs ranged from Sticks and Stones to their newest album Radiology. There were a lot of moments when they let the crowd sing or told the crowd to jump and do this or that. Jordan’s voice was the same as on the record, though at times he seemed a little out of breath from all of the running around he did. With their guitars super crunchy and their pants super tight they rocked the HoB. That night is also special because it was the first snowfall of the year! Yay upcoming winter.

On an aside note, I’ve always hated while at a ska or punk concerts when people would mosh or even just push and shove each other. I’ve never understood why that was fun or why people did that. People at the House of Blues were getting knocked down, kicked, and punched. I saw kids with bloody noses and there was almost a fight. Yes, when people got knocked down strangers would help them up, but it could have easily been avoided if that kind of stuff wasn’t done in the first place. Maybe I’m not meant for that “scene” or maybe I’m just smarter than all of those kids who have to get their anger out on random strangers. Happy No-Shave November!

By Kendra Long, DJ of Friends Don’t Let Friends Be Hipsters
It started with Christa Gniadek. Well, no, not really, it started at WTBU that afternoon. Well, no, it actually started at WTBU a year and a half ago. The Migrant (he: lanky Danish type, them: bubbly Austin bohemian types) did an in-studio with Ali and I when we had that weird middle of the day slot on Thursday. A band of probably six fit in a studio fit for probably two. Their drummer tapped on a binder, if I recall.

Then I get an email, saying Bjarke & Co (generally known to all as The Migrant) are releasing a new album and want to have a record release in Boston, do I know of any venues and would we like to have them on the show again.

I do, it’s called my living room, and we would, it’s ten to midnight on Monday how about we record it Tuesday and play it the next week okay then cool.

Tuesday they (he: lanky Danish type, them: Mes) show up. Well, no, Tuesday morning I work, then I accidentally fall asleep on the T for the second time in a week, then we do the in-studio and have to go on air live because Pro Tools/the microphones/the world was acting up and I did not have the know-how to unbreak everything (my heart?). Mes (I’m sorry I’m misspelling it I’m sure but Danish is HARD) knew more than I did and he had no idea so if he didn’t know how would I? Right? Turns out the microphone was actually broken when we rolled up so in reality if they had just switched mikes it would’ve been fine but in hindsight everything is different so whatever world I’m over you.

We schlep to my apartment.

Then Christa started. She (she: petite Berkeley songwriter type) whispered and crooned through songs about family and friends and love and I don’t know if it was the mood of the room or the fact that we had 20 people jammed in a room with no open windows but it was so warm and lovely being there I felt like I was in a mental Snuggie of the best kind (fact: leopard print).

Then The Migrant sauntered forward, shoeless (socks) and fancy free (Mes’ guitar was actually a gift from his wife, a small purple plastic thing meant for ‘girls’ just learning what a guitar is, refitted to actually sound like a guitar, Bjarke’s guitar is older than he is). The new record (Amerika) is a little more electric, a little louder (sorry neighbors we didn’t warn you ahead of time) maybe even a little moodier than the first (Travels in Lowland). They played pretty much all of it, and for two dudes too big for a living room they rocked it pretty hard. Bjarke (earnest, eager, bright but never strident) managed to make his voice ring out clear over Mes’ electric guitar and the towel/tambourine/sock thing Bjarke tapped to keep rhythm. It’s funny, because peppered through the set, the duo played a handful of songs from Travels (Nothing But Clues, Gor Hvad…) and they sounded just a little different, but still fit in with the rest. Musical cousins. Old was when you wake up before your alarm and the sun is out and it’s warm but not sweaty. New is driving fast with the windows down. It’s still folky, it’s still melodic and simple but focused and clear…it’s just a little more Amerikan.

Then it was over and everyone stood up and converged on the middle of the room and talked, face to face (to chest to chest, because good god Mes and Bjarke tower) and that same absurd ease Bjarke has about everything won over everyone, I think. Mes smiled, once, I think, but it could’ve just been the heatstroke setting in. It was lovely. It was home and homey but not homely and Amerika is such a perfect fall album for leaf kicking I can’t even tell you so go try it out. Kick. Do.

Listen.
http://maidenbrainmusic.com/
http://themigrant.bandcamp.com/

Contrary to their name, the folk-pop duo the Civil Wars are by no means divided. In fact, Joy Williams and John Paul White are hypnotically in sync, captivating a sold out Berklee Performance Center on Friday, October 28^th.

While it has been a busy year for Williams and White, they remain humbled by their sudden publicity. The duo met at a songwriting session three years ago and released a live recording for free online which received over 300,000 downloads. Not to mention, their first studio album “Barton Hollow” dropped this past February, earning them a spot on six shows of Adele’s 2011 North American tour.

The Civil Wars maintain a simple and intimate stage presence (they share the stage with only a guitar and piano) while still creating an incredibly full sound. Songs like “20 Years” and “To Whom it May Concern” feature sweet acoustic harmonies, while “Poison & Wine” is a continuous, emotional swell. Their album’s title track “Barton Hollow” showcases southern roots, giving the duo a chance to “bring the swamp up north.” Clad in classy black and white, Williams bounces and sways to White’s guitar chords. They interact like brother and sister, casually joking with the audience over an accidently-broken guitar string, but also radiating with respect for one another.

By popular demand, they include a sultry and playful version of Michael Jackson’s “Billie Jean” to their set. (White joked that they used to play many covers since they didn’t have enough original songs fill an opening set. Now, fans become anxious when they don’t hear any MJ!)

No matter what song, Williams and White visibly feel every lyric. They thread simple themes of love and loss with layers of harmony and a bit of southern twang, exemplifying a new type of folk. This explains why the two recently received the Vanguard Award at the 49^th Annual Country Music Awards, historically given to musicians reshaping the future of American music. Judging by their record sales, and delightful presence, the Civil Wars are rewriting folk history.

By: Ali Weltman, Intern Director and DJ of Friends Don’t Let Friends Be Hipsters

Not many people I’ve spoken to want to go see the Footloose remake. However, what I’m more excited about is the motion picture soundtrack. It surprised me – it’s one of the best soundtrack’s I’ve heard in a while. In honor of the remake of Footloose, here are five reasons that this Highway 20 intern believes the soundtrack deserves a listen.

5. Country Music. For every one person that likes country music, there is one person who absolutely despises it. Most of the people that despise it seem to attend Boston University. However, for those of you that don’t like country music, let me encouragingly tell you that it’s not 100% country and its most definitely not “hick” music. This Footloose soundtrack is almost acoustic, with a tinge of guitar that makes you want to hear the music live. From the all-too-famous Big and Rich (whose song one the album, Fake I.D., is one of the best!) to acoustic-like Lissie, there’s something for everyone who likes an honest voice.

4. If you’ve seen the movie, you won’t be able to resist. And it’s true – halfway through the movie, all I could think about was buying the album later that day. The music just fits the movie, despite the fact that only four songs were remade from the original soundtrack. I like the new additions – it fits the countrified feel to the movie. Listening to the songs all over again makes you want to run back to the cinema, and fast.

3. You could get “Fake I.D” stuck in your head. And sing it over and over again. And who wouldn’t want to quietly sing “hey mister, won’t you sell me a fake i.d” along Commonwealth Avenue? Big and Rich feature Gretchen Wilson, a brilliant combo. Let’s face it, I hated the cacophonous mixture of sounds the first time I heard the track. It sounded like there was too much going on. But after that, it grew on me.  Quickly. Let me tell you that singing the song in public will get you some weird glances.

2. Blake Shelton singing Footloose. In short, every time I hear the song I just want to get up and dance. It’s that simple. I never really liked Blake Shelton until he sang…this catchy song. Granted I have yet to hear the original, but I do hate judging and comparing to older productions. If you see Footloose as a separate entity, you will adore this song. Give it a chance – the beat is too catchy to resist.

1. Ella Mae Bowen singing an acoustic version of Holding Out for a Hero. This remake of the song is quite honestly the most beautiful piece of music I have heard in a while. Every time I listen to it, it’s like the song lulls me to sleep. It’s so…beautiful. I’ve never heard of Ella Mae Bowen, but I haven’t stopped recommending her since. I can’t even put into words how much I love this song and how much everyone should listen to it. It’s perfection, and this single song makes the soundtrack complete for me!

By Samantha Tatro, the Highway 20 intern with an opinion.

Do you remember when Blink 182’s last album came out? I sure do. Everyone thought it would be Blink’s last album ever; mass hysteria ensued. I was in Florida visiting my grandparents and I demanded that we go to the mall so I could buy the album. Since it was the first album I bought with the “explicit content” label and because my CD was a different color than everyone else’s back home I felt like a little bad ass buying it. You can imagine my thirteen-year-old-self rocking out with my CD player at an old person’s community. Ben Brondsky was a little rebel back then.

Most people don’t consider Blink 182 their best album but it’s known for being a huge transition for Blink. The songs were darker, more intense, and not as much fun. The darkness is attributed to the chemistry between the band mates, which eventually led to their break up. The day they broke up my friends in middle school wore black and spelled out Blink 182. I’m sure some kids even cried.

Blink 182 regrouped in 2009 and performed their first show since the break up on May 14^th of that year. They toured the rest of that year and started working on the new album. When famous bands take a long break and come back with an album the anticipation is always huge. “Can they replicate their original sound?” “Will there be catchy songs?” Or “will they deviate and make a totally different album?” This album seems to be a continuation of the journey they start with Blink 182 in 2003.

At first listen I thought I was hearing Angels & Airwaves. That’s not a bad thing; I have all of their albums as well as Box Car Racer’s, and +44’s. However, this isn’t an Angels & Airwaves album, it’s a Blink 182 album. Shouldn’t there be a difference? If someone definitely takes more control in this album it’s Tom. He has a bigger share of the vocals, with Mark singing the choruses most of the time. There are a few times where they interplay vocals and that’s enjoyable. The issues dealt within the album revolve around: love, lose, and overall despair. Although all of the members are now in their mid-thirties (Mark is almost 40), they still seem to be trying to find their way in life. They’re all married/divorced and have kids; is their life that difficult and confusing?

I don’t think I’m the only one who misses the old Blink 182. I understand they’re older and they won’t make as many obscene jokes anymore, but you can’t get better than “What’s My Age Again?” or “All the Small Things”. Perfect pop songs crafted in 2 and a half minutes. The closest they get to those songs are “Up All Night” and “After Midnight”; the first and second singles off the album.

The instrumentation is darker on a few songs, notably “Up All Night” and “Snake Charmer” where there are heavy-guitar driven moments. Keyboards and guitar layering are more present in this album. Travis Barker on the drums is also always present and consistently awesome. The normal album only runs 36:34 minutes but it seems a lot longer. After the first half of the album the songs start to seem very similar. I recommend buying the Deluxe Edition however, specifically because the song “Snake Charmer” is on it (as well as three additional songs).

It’s a decent effort and if it was a different band I might even like it more. However, since it’s associated with Blink 182 I just can’t get into it so far. Maybe it’ll become an album that grows on me, however it won’t replace their earlier albums. Because of the time period and the ages we all were when: Dude Ranch, Enema of the State and Take Off Your Pants and Jackets came out they’ll always be remembered. In the future I see this album being talked about as a tried effort that could have been better but fell short. It’s not Chinese Democracy (the ultimate letdown), but it won’t be remembered as a success. Overall rating: 6.5/10

Favorite Songs: “Up All Night”, “After Midnight”, “Wishing Well”

by Ben Brondsky, The Fleshy Fresh Intern

Panic! At the Disco is old news. When’s the last time anyone really heard of them? Sure, they released that record a few months ago, but all of their best music happened years ago. Plus, they are “whinny” alternative, says anyone with a music education.

I stand with these people…usually. But with the release of their recent live session, I now beg to differ. This past Monday the 3^rd of October, Panic! At the Disco released an ITunes live session – a few tracks only, granted – but enough to make anyone with enough fate believe in them and their old spirit again.

The six track extended play contains both older and more recent tracks from their career. And it’s worth a listen.

Don’t start off by overlooking the track “Ready To Go,” which even I had to look up, only to find that I had heard the song a few times and didn’t like it. It’s one of those quirky, new songs that don’t quite fall into the groove of any of their music, and it’s worth listening to for a bit. The track actually sounds better once you’ve heard the studio version; you begin to notice that the stripped version has something that rings. It makes you want to get up and dance (note: see music video), and not in a bad way. As the first track, I was pleasantly surprised. Things could only go uphill, right?

Right. One of my favorite moments was not when they played their classic “I write sins now tragedies,” but rather when they played “Nine in the Afternoon.” When you listen to it, or rather when I listen to it, I feel happy. It’s one of those songs that sticks in my head, and I like it as much as someone who prefers to listen to indie, acoustic, country, and live music can like Panic! at the Disco.

It brings me back to their quirky music video, and that whole phase when their music hit an epic high before the giant crash (which, oddly enough, reminds me of Wall Street a little too much). But the song has enough charisma to make you hum it for the rest of the day, enough of their original style of music so you don’t feel like they’re taking off in a new direction, and enough of an indie twist that you’re actually fooled into thinking you’re listening to something from the local concert hall on a Tuesday night.

One of their new songs, however, lacks those qualities. “New Perspective” lies in the grey area: too much guitar and not enough drums for something that should be called alternative. To me, the song makes them sound confused. What genre am I again? It asks listeners. The answer is unknown. That track was never a favorite of mine and it definitely isn’t this time around, either, especially with the occasional off-tune notes, which really kills a live session for me.

Then there comes “But It’s Better If I Do,” the old song that just about anyone who can tap their foot was addicted to. Panic! did a great job with this song, frankly. It has the drums to make you tap your foot, the vocals that aren’t too complicated, and the lyrics remind us of the times they were the thing to listen to. It is difficult to simply express how catchy, upbeat, and edgy their old music was, and I felt nostalgic listening to the tracks. By including a few older songs on their EP, they’re bringing back what fans love. Heck, even “I Write Sins Not Tragedies” to close the album, I remembered those days I couldn’t get the song off repeat. Closing the EP with the oldies serve as the perfect reminder of what Panic used to be and the promise their future might bring, but I’m going to hold off on any promises of an epic comeback just yet. Just give Panic! at the Disco a chance and see what comes of it.

By Samantha Tatro