In an act of self-preservation, the Comas took a well-deserved break in 2007, leaving Andrew Herod free to leave New York in pursuit of non-musical endeavors. Spending time in North Carolina, California, and various states in between, Herod nevertheless found himself drawn back to music, prompting a new round of songwriting and the subsequent formation of the Electric Owls. Recorded with a wide cast of indie rock veterans, Ain't Too Bright is the product of Herod's wanderings and eventual relocation to Asheville, NC, whose mountainous surroundings and unique, hippie/indie culture can be heard on the album's acoustic numbers.

Songs like 'Darken Me,' 'Haint in a Holler,' and 'Kallispell' are rooted in the classic guitar 'n' vocals approach, with various orchestral flourishes (including analog synthesizer and hammered dulcimer) adding psychedelic gauze to the mix. Elsewhere, Herod embraces every nook and cranny of his muse, from the breezing power pop of 'Halloween Mask' to the expansive 'Magic Show,' which combines Arcade Fire's zealous attack with the buzz of '80s keyboards. Such a quirky, diverse foundation is held together by Herod's voice, a chameleonic tenor that's capable of crooning and yelping in equal measure. Contributions from members of the Gutter Twins and Archers of Loaf don't hurt, of course, but Ain't Too Bright is still Herod's baby, an engaging debut (of sorts) that stands alongside his best work with the Comas. ~ Andrew Leahey. The year 2006 found many of Senses Fail's pals taking decisive steps toward transformation.

Harry potter in romana. As the genre became clogged past its breaking point, everyone involved suddenly wanted to break free from an emo/screamo tag by altering their sonic approach. Consequently, it's a bit surprising that for their sophomore effort, Senses Fail has instead embraced the original sound that gained them attention in the first place; it's even more unexpected considering guitarist Heath Saraceno (of Midtown fame) is now counted in their ranks, since his experience could have easily taken the guys in a totally new direction.

Senses fail let it enfold you reissue 2005 pop to core blogspot com zip hosted on mediafire.com (102 MB). Editorial Reviews. Senses Fail is a band on the verge of HUGE things.

But this decision absolutely works out for them. Still Searching is like 2004's Let It Enfold You, but two years older -- tighter, fuller, and more honest. The focus here is more on tense emo rock with a hard pop edge than scream-bloody-murder screamo -- since there is less emphasis on screaming -- yet the music remains wholly Senses Fail.

Fans will appreciate the band's rejection of a drastic makeover to instead to churn out a hugely solid set of songs blasted with fist-pumping choruses, crashing dynamics, swirling guitars, and gang vocals galore. And thankfully, the guttural shrieks are more purposefully integrated and less like crutches to fall back on. There's no denying the strength of bigger tracks like 'Can't Be Saved' (though it resembles 2004's 'Buried a Lie') and the invigorating title track, the latter relying heavily on rousing gang vocals, while the anguished yet calming suicide leap of 'The Priest and the Matador' brings Buddy Nielsen's vulnerability to the forefront. Nielsen's lyrics are distraught throughout, but instead of killing exes (there are surprisingly few breakup songs this time around), he explores the personal.

Suffering from severe anxiety surrounding this record, his agitated words overwhelmingly explore ideas of self-doubt, loss of faith, and disillusionment, to the point that when he sings 'My life is better than it ever was' on 'To All the Crowded Rooms,' it's hard to tell if he's making a statement or trying to convince himself of such. Despite being one of its scene's bigger names, Senses Fail has still always been pretty interchangeable with the rest. But seeing as Still Searching is much stronger an album than their successful 2004 debut, it really has the potential to finally help Senses Fail stand heads above the pack if only for staying true to what it is they do best. ~ Corey Apar. After a three-year hiatus, Thrice returned with their ninth studio effort -- and first since 2011's Major/Minor -- To Be Everywhere Is to Be Nowhere, an album far-removed from the sound of the early-aughts screamo scene they helped popularize. Not as unhinged as their initial breakthrough albums, nor as experimental as their Alchemy Index quadrilogy, Nowhere falls nicely alongside their more straightforward rock works like Vheissu, Beggars, and Major/Minor.

This is an album full of power and focus. Vocalist Dustin Kensrue can still scream, but gone is the ferocious wail, instead replaced with a gravelly rasp that can sound like Chris Cornell, Dave Grohl, or Dan Reynolds, depending on the song. That bloody strain opens the album on 'Hurricane,' which finds the band -- guitarist Teppei Teranishi, bassist Eddie Breckenridge, and drummer Riley Breckenridge -- whipping up a midtempo torrent that swirls into the throat-shredding 'Blood on the Sand,' one of a few moments on the album where the early Thrice can be heard ('The Long Defeat' is another nostalgic trip).