Yelawolf at Club Red 6/13

Times are changing in the world of music. Genre diversity has actually become a celebrated virtue. No better proof of this was the line stretched outside Club Red last night for the sold out Yelawolf show. A unique breed of country, rock n' roll, and hip hop that has rallied an ever growing fan base. Rightfully so, as there's nothing quite like the culturally fused environment to be experienced at his concerts.

A rather unorthodox set up includes pink lemonade, lit candles, and animal skulls. But the most important part of setting  Love Story Tour: Chapter 1? Polishing the Chevy. 

If you picked up the new album Love Story, you'll definitely appreciate the opening song of the night- "Outer Space". There's nobody looking around the room trying to assess the crowds enthusiasm. We're all too caught up in the energy exchange happening between Slumerican citizens and Yelawolf delivering fast, accurate, whiskey fueled bars over a hard hitting instrumental. The tone is set for a high energy night at Club Red.

Over his next song "Good to Go" Yela chops his verses through an auto tune effect that produces a one of a kind country flange fire spit. It's additions like this that make a his live show a special experience you just don't get from studio recordings. DJ Klever busts out some scratching improvisation while accompanying instrumentalist Bones Owens whips out a new guitar, which we'll see happen again for pretty much every song tonight.

Between songs a fight gets broken up and participants consequently thrown out. Yelawolf has something to say on the matter while security plows through the crowd seeking out more delinquents.

"Security. Security what are you doin? Security. Security. Hey nobody's gettin kicked out. Even if you get in a fight, you aint' gettin kicked out. Unless you hit a woman, then you gettin kicked out. And none of you Slumerican Bells be puttin your hands on no one either."

But it's with more rage you'd see in an actual fight that Yelawolf performs "Growing Up in the Gutter". The already unique experience transcends into a raw display of angry performance art. Yela is laying down some impressive gnarly screams. Adding to the chaos he goes on to ignite one of his set lists and demolish a mic stand, smashing it vigorously against the stage. 

The crowds wild animation over this vulgar display of power comes as no surprise. However everyone's adoration of "Ball and Chain" is pleasantly unexpected. Although one of the slower songs on the new album, its an immediate fit of cheering and excitement upon hearing the intro. It seems Yelawolf's fan base has a true appreciation for the variety of songs he has to offer.

Moving straight out of "Ball and Chain" comes whats sure to be the craziest three minutes of the night. "We don't do this next one unless the crowd is really rowdy" Yela tells us, and we already know it's "Push 'Em". Living up to the expectation a mosh pit breaks out and continues though an impressive upright bass solo. I lace up my beer soaked shoes and get back to the action.

"Whiskey in a Bottle" warrants unanimous audience participation. Every hand in the room shoots up at the beckon of the lyrics "so put your hands in the sky".                                                                                                                                                                             Bones Owens is mixing in some heavy chords to "Let's Roll". There's numerous fans shouting out just for Bones, looks like Yelawolf's rockstar lineup of musicians is getting the props they deserve. Between songs Yela begins chanting the following to us over and over;

"Slumerican means

slum american breed

gutter raised with worldwide dreams" 

He goes on to say "I aint no politician. I get tired of people asking me the same questions. Asking me to hold their babies. I dont wanna hold your motherf****** baby." Establishing the Slumerican culture, he finishes this rant stating "If you don't get it, you don't motherf****** get it. That's cool with me."

Matching the genre diversity of Yelawolf's catalog, Owens is jumping from instrument to instrument all night. For "Throw it Up", he moves to his eloquently set up piano. A Smooth piano transition brings us into "Pop the Trunk" As usual the song is introduced  with a deep monologue about the reality of death and preciousness of life. Condolences are expressed to fallen soldiers and victims of police brutality. The mood in the room continues to build and eventually bubble over as Yelawolf states "F*** the police" and begins the song.

Yelawolf's fan base is clearly supportive of the variety of genres his songs touch on. However this isn't the case for some Yelawolf critics. Acknowledging this, he goes on to pay homage toward his idols "If you dont like Garth Brooks then fuck you" before starting the next track. (It might be worth noting in light of Yelawolf's relationship with Eminem the lyrics from The Slim Shady LP in which Shady states "I slapped Garth Brooks out of his rhinestone shirt".) "I Wish" goes on to introduce a rock mix of instrumentals from classic artists such as Black Sabbath and Led Zepplin.

Yela takes a swig of Jager Bones, Bones whips out the appalachian dulcimer, and in comes "Catfish Billy". I hear what I think is a lot of reverb coming from the lead microphone before I realize it's the crowd seamlessly chanting lyrics in sync.

Throught the show Yelawolf has shown himself to be a charismatic entertainer. But beyond that, he harbors some animosity within him self as he expresses in his introduction to "Best Friend" saying

"Fuck the church. Take it personal, fuck your church, This is church. If im not allowed to join your church cause of the music, tattoos, weed, we'll just create it our own way.

For the last part of the show a very special guest is introtuced to the stage. An individual who Yelawolf cites as a big influence on his individualistic creative attitude during the making of Love Story. Fefe Dobson takes the stage alongside her fiance as the two perform "Devil In My Veins" Closing out the show is the single "Till It's Gone" delivered again with special guest Fefe Dobson. 

It almost slips my mind that "Till It's Gone" is a single off of Love Story. The crowd doesn't respond to the introduction of songs in the same way that a crowd does to the one hit wonders. Song after song the crowd is run amok with the excitement you might expect to see for the single off the new album. A diverse performer supported by an equally well rounded fan base makes for a show full of twists and turns in style, emotion, and instrumentals. The Love Story Tour: Chapter 1 tour is easily one of the best hip hop shows to come around in quite some time. But more than that, its also a unique musical experience. Do yourself a favor- pick up  Love Story and see the show. You won't regret it.

Say Anything at Marquee Theatre 11/16

Last night every hipster in the Tempe/Phoenix area came together for their collective high school reunion, or so it seemed. As teary eyed and sweaty as they were in their teenage years, a mob of now twenty somethings packed into the Marquee Theatre to stand awkwardly on the back wall until Say Anything took the stage. At which point everyone lost their s***.

With good reason I might add. Say Anything's"...Is a Real Boy" 10 year anniversary tour inspired the most post-modern celebration of nostalgia I've ever witnessed. At first sight Max Bemis' eloquently disheveled hair sparks an uproar as the introduction to the first track of the album, "Belt", plays. A wave of goosebumps passes through the crowd upon Max's first words of the night: "and the record begins with a song of rebellion". From the first song the audience is run amok with moshing, cheering, and joyful fan girls crying. The closing lyrics of this track "all my friends in the alley tonight" assume a unanimous understanding of kinship between a handful of sweat soaked strangers holding one another in the mosh pit singing along soulfully.

Max's initial goal for this album was to write a rock opera featuring a full story, interludes, and characters. The final product of "...Is A Real Boy" instead became a musically focused album, and much less of a rock opera. However this vision came to life as every boy and girl in the pit assumed their roles throughout singing along to "Alive With The Glory of Love". A few minutes captures the emotion of what might be our last chance to share this intimate experience of expression with strangers on the same level of enthusiasm.

Reciting word for word an album that saw us through our adolescence, we're much less a crowd of fans than a group of life long friends. The same look of tragic angst shows on all our howling faces during "Every Man Has A Molly".

The applause grows with each passing song in the set. Despite writing about being an egotistical prick who hates himself, Max Bemis is actually a nice, humble guy on stage. Taking out his ear plugs to listen to his audience, the sentiment expressed by Max's face lighting up at the sound of the audience's ovation is heart warming. There's a real connection between this audience in complete adoration of an entertainer and a performer equally thrilled to hear us cheering.

Several fans anticipate the possibility of hearing a few songs from Two Tongues, a side project shared by Max Bemis (Say Anything) and Chris Conley (Saves the Day). Acknowledging this anticipation Max quickly bursts our bubble announcing that no Two Tongues will be performed. However he accompanies this with good news; a new Two Tongues record is in the works. So it only makes frustrating sense that the two would hold back on this tour to "keep you primed for the real thing" says Bemis.

The "...Is A Real Boy" anniversary tour is absolutely a must see for any Say Anything fan. If you don't buy yourself a ticket, buy a box of Kleenex to wipe away your tears at the thought of missing out. But really, the tour is a one time experience for fans to see whats arguably the most memorable album performed start to finish. The full performance of the album as well as it's later released bonus disc "...Was A Real Boy" features songs never before performed live on previous tours. Don't miss this tour, and be on the watch for a new release from Two Tounges. From Max's words, it appears there will likely be a tour following the release as well.

Yelawolf and Rittz at Club Red 11/4

What do rappers, an Appalachian dulcimer, steel guitars, electric guitars, acoustic guitars, turntables, pianos, and mosh pits all have in common? Probably nothing; except the spectacle that was Yelawolf's ridiculously genre-diverse show at Club Red last Tuesday night.

Slumerican culture introduces a number of elements you won't see at a run-of-the-mill rap show. For example, a mounted deer head at the merch booth.

Diversity also reared its head in the audience as numerous Strange Music and Slumerican fans turned out to see Rittz (currently signed to Strange), and Slumerican founder (though currently signed to Shady Records) Yelawolf. Both artists have a long history of collaboration between their respective record labels and its safe to say this comradery is shared among the crowd.

A strong sought-after supporting act is just one of the many unique, positive parts of tonight's show. Though he isn't the headliner, you wouldn't know it by the crowd's audible collective roar upon Rittz's taking the stage; a sure sign that very few people showed up here just to see Yelawolf. Rittz proves his popularity is far from unwarranted, spitting rapid bars with an accuracy made more impressive by a flow that seems to switch gears every other line. If that wasn't enough to win you over, Rittz takes it further continuing to rap a capella without missing a beat. Studio quality rhythm like that isn't something you always get from fast rappers, but Rittz's ability to live up to his recordings all throughout his set is impressive.


Talent is a strong suit for Rittz, but he brings more than skill to the table at his live performance. The mile wide smile regularly growing on his face silently screams "I love what I do, this moment is perfect". I can feel the unmistakable vibe that radiates from an artist who's truly fallen in love with performing. There's a sonic presence of this energy in Rittz's fluctuating inflection as he screams, shouts, and raps his audience into a frenzy. Watching Rittz work the stage left to right it's clear there's enough to go around too. His stamina and vigor on stage go to no waste as the entire Club returns the energy audibly following line after line.

Skill and a good crowd reception don't constitute a big ego for Rittz. Repeatedly showing humble appreciation for his fans, Rittz tells us "I've been out here five or six times and always get a great crowd. I never get used to that s***. I aint no rich a** rapper". His likability continues to shine between songs, going on to speak to the crowd "Everybody on social media has some s*** to say, f*** that be yourself.". His blunt attitude is balanced with an entertaining sense of humor as Rittz places his mic on it's stand saying "Mic stand on stage make you feel like you're in a rock band or some s***. You get a false sense like you can dance." Our grinning jaws drop in laughter as Rittz goes on to impersonate a country singer, leaning the mic stand side to side soulfully.

Having entertained us from every angle, the end of Rittz's set leaves everyone more than pumped for Yelawolf.

My intrigue is quickly sparked before Alabama-based rapper Yelawolf even takes the stage. The two accompanying instrumentalists, Bones Owens and DJ Klever. appear on stage first. Both are dressed in all black from their wide brimmed hats down to their boots. Catching my eye is Bones Owen's eloquent cluster of country piano ornaments featuring a navajo style blanket, candles, and a horned animal skull. The first sound heard is the roaring engine of what I safely assume is a Chevy, similar to that of the intro to Yelawolf's song "Get the F***Up". Yela literally jumps into his first song bounding onto the stage wielding a can of Budweiser, sporting a cowboy hat and boots. The visual presence of the Slumerican southern roots hits you like a bag of rocks.

Early in his set we can see Yelawolf chopping through a familiar smirk cracking across his face. You have to love going to a show where the artist is having just as much fun as the audience. Which is saying a lot considering how much fun we were having in the mosh pit that exploded during "Push 'Em". In addition to passion, Yelawolf shares with Rittz a similar sense of humility, telling his fans "It's an honor for us to get up and do this for you all". Thinking back to Rittz's comment on mic stands, the rock infused mayhem going on safely justifies Yelawolf's use of his mic stand.

Following a healthy dose of snare heavy punk drums on the "Push 'Em" instrumental, Bones Owens puts down the guitar and hops on keys for "Throw It Up". Continuing to display the skills of a one man band, Bones also whips out the Appalachian dulcimer for "Catfish Billy". Bones Owens continues to pull out instrument after instrument and there's never a dull moment on his side of the stage throughout the show.

Things go from chaotic to dark and heavy as Yela introduces his next song. Requesting all house lights be turned off, he instructs the crowd "If you love somebody lighters up. if you've ever experienced violence, been the giver or taker of violence, lighters up." bringing a chilling new feeling to the lyrics of "Pop the Trunk".

Bringing Rittz back on stage the two perform "Box Chevy" together; an especially hair raising sight
considering it was Rittz's feature on "Box Chevy" that kick started his now successful rap career.

Now if you think rock, rap, and country don't mix, a Yelawolf show will cause you some serious cognitive dissonance. But go ahead and doubt him, Yelawolf welcomes it. Stating "Growing up in a small town in Alabama I always had to prove I was hip-hop. Motherf****** would tell me I ain't hip-hop." as a small preamble to  "I Wish" as he goes on to say "I wish a motherf***** would tell me I ain't hop-hop!". Demonstrating their cross culture resilience, Bones, Klever, and Yelawolf all seamlessly transition from "I Wish" over to hip-hop adaptations of "Back In Black", "Sweet Home Alabama", and "Smells Like Teen Spirit".

The crowd is a hot mess as Yelawolf concludes his set. Even one, two, three encores later, we're all begging for more. If you want to hear more from Yelawolf, pick up his newest single "Till It's Gone" and more directly from his website. For more from Rittz you can pick up his newest album "Next to Nothing" at the Strange Music store.

Knotfest 2014- Slipknot, Tech N9ne, Atreyu, and More

Knotfest 2014 at the San Manuel Amphitheater in San Bernardino, CA offered an endless variety of metal head entertainment including cage fights, flaming carnival games, and- oh yeah, dudes doing back flips on dirt bikes. But you can read all about the various attractions on the Knotfest website. As cool as it was to have a goat petting zoo at a festival (which I fatefully missed out on), fans didn't travel cross country for that. Alternative entertainment surrounded the amphitheater, but you know we all came out for the show. The first band of the night I catch is Atreyu, who provokes quite the audience response.

"Hey that's something everyone can enjoy!"

Said the wheelchair equipped fan rolling through the mosh pit. But really, check out how serious the crowd took Atreyu's set!

The bands diverse performance offered songs from heavy crowd pleasers like "Bleeding Mascara" to their cover of Jon Bon Jovi's "You Give Love A Bad Name". Both song selection and showmanship proved to be strong suits for the band as Atreyu's Bassist plunged into the mosh pit. The energy in the crowd is high, and it only goes up from here.

Opening his set Tech N9ne takes the stage releasing a monstrous scream, grasping the attention of numerous skeptical metal heads. Tech fans alike dropped jaws at the sound and sight of the hip-hop icon's rebel yell. Having established his presence among the Knotfest crowd, Tech dives into his first song while fans dive into the pit. A glorious display of rap fueled aggression ensues during the set as songs like "Riot Maker" and "Straight Out the Gate" induce what might be the most brutal set in rap history.

Though Tech is a black sheep among a metal lineup, fans represent the artist with not only large numbers, but a resounding response to the Kansas City rapper's signature echoing call outs. Strangers in the audience return Tech N9ne's beckoning "K-C-MO!" with an overwhelming "Wooah-Ohh!" so loud you'd think Tech himself was the headliner.  Lyrics alike are seen flowing out the mouths of moshing strangers.

N9ne breaks from his set to make honorable mention of his mother who's birthday so happens to fall upon this very night.. In humble expression of his gratitude to perform on the final night of Knotfest, Tech N9ne speaks of his mother saying "She's smiling down on me like "I made that happen for you motherf***** be proud" and I am" The hair-raising emotion in his face only increases the devoted energy reciprocated from loyal fans in the crowd.

Following the performaces of Volbeat and Five Finger Death Punch, our highly anticipated headliner takes the stage.

The curtain rising causes what I can only describe as instantaneous anarchy. As if Slipknot's music alone wasn't enough, the accompanying show inspired one hell of a mosh pit. A barbaric stage presence, spinning drum risers, and enough fire to burn us all alive set the audience ablaze.

As my reader I share with you a sense of brutal honesty. When Slipknot's first song erupted throughout the amphitheater, I wasn't the first one in the pit. In fact I gave it a song or two before I tested out the waters. Half the crowd was in it, but I didn't exactly size up to the testosterone fueled aggressors stomping furiously about the concrete.

Despite being intimidated the irresistible sonic adrenaline of "Heretic Anthem" draws me toward the insanity. Immediately inducing a death metal baptism evolving my fear into rage. I entered with caution and left with a reckless thirst for more. Strobes, flames, and shades of red lighting illuminate the flurry of blood, sweat, and muscle. The chaos is physically demanding beyond the point of exhaustion. The sensation of colliding fists and elbows is nullified as the crowd is possessed by the high-gain distorted rawness of "Duality". Finally two encores conclude the audiences collective peak of pandemonium. The aftermath consists of endless empty beer cans, lost clothing, puke, and ashes. For the San Manuel Amphitheater, Knotfest has undoubtedly left its mark. (My heart goes out to the clean up crew)

For those of you who didn't attend Knotfest and receive a complimentary digital copy of the new album, you can get yourself a copy here from the Slipknot official website. If you're heartbroken about missing the show, fear not; I think its safe to say Knotfest will be returning next year.

Grieves at Pub Rock 10/20

They say Mondays aren't so bad, its your job that sucks. But even if your job rules who's going to show up at a hip hop show on a Monday night? At Pub Rock; everyone.

Tonight Seattle based rapper Grieves concluded his Winter and the Wolves tour right here at Pub Rock in Phoenix, Arizona. Grieves has been on this tour in promotion of the new release since it started with a free show in Mesa, Arizona back in April. Check out my review of this show here. 

Opening the show was local rapper Mouse Powell from "about three blocks that way" he tells us

pointing behind him. Mouse knows how to make an entrance with the accompaniment of his DJ, beginning the show with a brief crowd pleasing play of "Turn Down for What". 

Mouse Powell already has some brownie points with me for sporting a Wavves shirt but relying too much on catchy radio hooks can definitely be a negative in how I receive a performance. However, Mouse quickly won me over diving into his first song. The show starts with a song about love, provoking quite a bit of audience interaction Mouse Powell is already working the crowds energy in his music, demeanor, and excitement. 

I like seeing an artist enjoy themselves on stage, but even better was the dynamic between Mouse and his accompanying vocalist. Especially during their performance of what Mouse introduced as a "Love song to someone you hate" during which ensued a vicious battle rap resembling back and forth between Mouse and his now rapping vocalist. Recovering from the harsh tone of this song, Mouse introduces the next track saying "To prove I love women, here's a song about my mom"

All in all Mouse Powell gave what might be the best opening performance I've seen at a hip hop show. He seems to not only defy but even contradict the stereotypical rapper with his child like happiness. By the end of Mouse's set I was not only thoroughly entertained, but it almost felt like I had just made a new friend. 

As for Grieves he delivered nothing less than expected. After his last performance in Mesa the rapper certainly did not disappoint bringing the same energy to the last show of this tour as he did to the first. Grieves and his dirty rotten gentlemen return to Pub Rock opening with Rain Damage, the first track off Winter and The Wolves.

Grieves acknowledges the impressive week day turn out commenting "Look at you motherf*****s on a Monday!' going on to say "Aren't you supposed to take care of your kids on Monday and s*** like that?" 

Feeding off of the unexpected energy of the Monday night crowd Grieves moves into his song Bloody Poetry, which featured an additional guitar solo from one of Grieve's instrumental performers. The live instruments introduced several exciting moments to the performance. Most notably the aforementioned improvisation.

From Grieves we got the charming laughs and stories similar to his previous performance. Providing ironic introductions to songs such as "Kidding Me" asking the audience "How many of you are in a healthy, loving relationship?" and retorting the following applause with "Well this song is not about that. This song is about loving someone who don't love you back, catching them with another man listening to your D'angelo records!'

Again Grieves delivered a stage show with more pizzazz than your average rapper while maintaining a personal and comical relationship with his audience. As usual there's always an opportunity to get a CD (or four) for cheap, meet Grieves, and have probably the best Monday night of your life at the Grieves show. For those that missed it, keep your ears open for the next Grieves show in AZ as its sure to be another phenomenal performance!

Rhymesayer's Rapper Grieves at Cyclomesa in Mesa, AZ

They say the best things in life are free. I wholeheartedly disagree with that statement, with the exception of Grieves' free performance at Cyclomesa last Friday.

Grieves is a Seattle based hip hop artist currently signed to Rhymesayers Entertainment. Growing up Grieve's prominent musical influences included rap and blues artists such as Wu Tang Clan, Gangstarr, D'Angelo, and Al green. It shows in his records which include various mixes of smooth singing and vicious rapped verses. Grieves has been grinding at his musical career nonstop since his first independent release in 2007. Last March he released his newest record, Winter and the Wolves.Now on his North American Winter and the Wolves tour to support the release Grieves is bringing his unique style around the states again more refined than ever.

Taken by Tom Woodward

The show itself was a fairly intimate experience as far as live concerts go. A small stage set in the street along with Grives' laid back attitude made for a pretty casual experience. Asking after finishing his first song "Do you guys always hang out in the street here in Mesa?" Grieves came not just to entertain, but to hang out with us in the crowd. Still a polished performer Grieves makes ample use of the stage connecting with the fans front to back, left and right. Moving with energetic finesse he makes sure not to take himself too seriously, giving a comical jig and asking "You guys like my bad ass dance moves?"

Taken by Tom Woodward

You have to love a front man who can make you laugh. Throwing a mention of his unique musical background into the mix, Grieves tells us "Your parents boned to John Legend all the time! I bet some of y'all are here because of John Legend!" he also references an old D'Angelo music video featuring the artist all but naked saying "Your parents thought loved that s***" he continues the comedy asking one fan with a girl on his shoulders "Can you feel the butt on your neck?" Grieves even jokes about his own show as he thinks aloud after finishing a song "Let's see we did the "put your hands up!", we did the "band turn the crowd up!", we did the slow song, we did the "I'm gonna drink a beer" and then I did..."" it's always refreshing when an artist can throw some humor into their set.

Taken by Tom Woodward

But Grieves had more to say than jokes alone. He speaks on negative feedback he's received online stating "If people liek that were looking to make a difference in this world they wouldn't be at home on their computer talking s***" Later in the set Grieves gave us a personal thank you for our support, saying "There wouldn't be us without you" Staying true to this point Grieves made time to meet fans after the show at his merch booth

Taken by Tom Woodward

One of the best parts about Grieves' show that separates him from the other hip hop performers is the live band. Mirroring his musical background, Grieves is accompanied by a mix of his recorded beats and two live musicians on this tour. Their contribution adds to the experience one usually gets out of a run of the mill hip hop concert with backing vocals and interchanging instrumental accompaniment. Given that Grieves' music includes a unique mix of synthesized and recorded instrumentals its nice to see him bring it with him on the road too.

As for song selection the set list was a crowd-pleaser for old and new fans alike. He managed to touch on most of my less popular favorites as well as the fan favorites. If you get a chance to see the show yourself, you'll get a good spread of tracks from all of his past releases, but with no shortage of songs from Winter and the Wolves. Grieves certainly knows how to pick and choose his set list with the audience in mind bringing the varying slow and high energy songs to the stage.

Tickets for the tour are a steal at less than $20. At the show you'll find cheap copies of all his releases to date including some vinyl records. With the quality performance, cheap merchandise, and a potential opportunity to meet the man himself, it's definitely a show you won't want to miss.

The Used Releases "Imaginary Enemy"

Photo from loudwire.com

     

Recently The Used dropped their highly anticipated album "Imaginary Enemy". Now I say "highly anticipated" in spite of how cliche it is because the release of the record really did have a lot of fans eager to see if it would live up to the hype. Hype rightfully generated in no small part by the release of their single "Cry" which was well received. The track assured some long time fans that The Used hadn't lost the angst that drew us to the music in the first place.

When an originally edgy band manages to stick around and mature, there's always the concern that the music will go soft. Mixed reception considering this concern was seemingly generated from the band's previous releases "Vulnerable" and "Vulnerable II". However with this new release I believe its fair to say The Used has taken some steps back into their grungy, raw roots. Singer Bert McCracken is very intentional about incorporating the old hardcore elements. On the second track "Cry" he makes a direct reference to a track from their self-titled album, "Buried Myself Alive" resurrecting the lyrics "if you want me back you're gonna have to ask nicer than that". The throwback is made even more nostalgic as Bert sings the lyrics clean initially but quickly transitions into a hardcore delivery accompanied by the equally gnarly guitar. 

"Evolution of the Heart"
posted by The Used's
Facebook page,
credited to @trent_sim

Another clear sentiment in reference to the band's bast comes from the album cover. Resembling the cover of their 2004 release "In Love and Death" the new release's cover features another constrained heart. However we see the heart is now more developed and refined. What a perfect metaphor for the progression of the music and the artist.

Also present in the record are heavy political themes. From the cover alone its clear The Used has a lot of new ideas to bring to the table lyrically. The reception of this political theme has been fairly mixed. Critics of the band's political message find it cliche, predictable, gimmicky, and ultimately hollow as the ideas expressed are vague. For others like myself the political stance adds some new spice to the music. I mean, how much can we realistically expect for a band to make the same record over and over again anyway? The change in lyrical content keeps things interesting, which for me was a plus.

Musically The Used introduced some more pop elements throughout the synthesizer instrumentals, gang vocals, and catchy choruses. This seems to have been an equally risky move as the political stance as fans have mixed feelings about the sound of the record.

All and all I'd say its a record worth picking up. The band stuck to its strengths while still showing their maturity as artists. For anyone expecting to hear an album identical to one of their earlier records, you will be disappointed. But with a more realistic outlook this new release has a lot to offer and hey, the deluxe edition is on sale at best buy for twelve bucks. Decide for yourself if The Used still has it.