Ships Have Sailed tries to accomplish a lot with its Someday EP: pop-rock, alt-rock, and acoustic pop. Of those three, the pop-rock is admirable, and the acoustic pop is solid.
Opener “Midnight” is a slick, hooky, irresistible pop-rock track reminiscent of The All-American Rejects (whom I love), while “Bring You Down” is one of the catchiest songs I’ve heard in any genre all year. The latter benefits from a “give ’em what they want” arrangement: it sets you up to want certain moments, then delivers in spades. Can’t ask much more from a song, really. These two tracks are worth checking the EP out on their own: they show a pop songwriting skill that I hope to hear more of.
The two acoustic pop tracks are nice as well; the male tenor vocals handle the change of pace nicely, and the songs are worthy changes of pace. Closer and title track “Someday” brings the two genres together: it starts off as an acoustic pop tune reminiscent of Dashboard Confessional before bursting into a pop-rock song reminiscent of Angels and Airwaves (although with a lower-pitched vocalist). It’s a fun tune that wraps up a fun EP. I’m really intrigued by the songs that Ships Have Sailed has put out there on the Someday EP; three of them are really polished, tight, and memorable. I look forward to hearing more!
I used to hate covers, because I thought they showed a lack of originality on the part of a band. Now I see that in addition to paying homage to a respected band, a good cover can be just as creative (and just as satisfying, if not more so) than a good original.
That’s why The Shoreline‘s cover of “I Gotta Feelin'” is my favorite track on their EP Fake It Till You Make It. Their cover re-envisions the party anthem as a pop-rock anthem. They remain faithful to the lyrics, mood and song structure; they just infuse the tune with a lot of guitar strumming and a pop-punk high-pitched voice. And while some covers become cloying in their pandering (someone played me a copy of a “Tik Tok” pop-punk cover that I could barely make it through), The Shoreline’s version of the Black Eyed Peas tune doesn’t get repetitive, annoying or gratuitous. It makes the point, slams it home and gets on to the next thing. It’s great. I like this song just as much as I like the original version, for completely different reasons. That’s the mark of a great cover.
The rest of the EP doesn’t have anything that possesses that sort of clarity and focus. As a result, the tunes are difficult to remember and just don’t make a big impact. If you like current pop-punk (e.g. Boys Like Girls, Angels and Airwaves, We the Kings, Fall Out Boy – especially in “Let’s Make a Mess”), you’ll like The Shoreline. But they won’t be your favorite band off the strength of this EP. Perhaps they have more in the tank, and they’re just getting started from here.
For now, I highly recommend “I Gotta Feelin'” to anyone and Fake It ‘Til You Make It to fans of the genre.
There are residual benefits to not listening to the radio. I don’t get overexposed to songs, so I never tire of good tunes (I still love “I’m Yours” by Jazon Mraz months after people can’t take it anymore; ditto for “Hey Soul Sister” and “Beautiful” by Akon). I also never get burned out on genres. If you’re making good pop-punk, I’m still able to rock out to it; I haven’t been burned out by its overexposure on radio.
Which is probably why I’m so enamored with I Can Hear Myself Levitate’s EP What is Left. ICHML has a sound that incorporates AFI’s darkly theatrical musical bent, Coheed and Cambria’s prog leanings, the high-pitched vocal preenings of Fall Out Boy and a low-slung form of guitar-centric rock’n’roll. They even dabble in some post-hardcore at points during the album. If heard with an uninterested ear, it wouldn’t sound much different than anything else on radio. The ear would hear the chunky guitars in the choruses and dismiss everything else that’s happening. And that’s sad, because ICHML have a lot more to offer than simple Boys Like Girls/Angels and Airwaves songs.
Take “Body Heat,” for example. The song sets up a distinct mood from the get-go, setting up the fast-paced drums against a moody, wiry guitar line. They pump it up for the chorus, but they never let the mood of the song change from an insistent, dark, patient piece. Mega props to the guitarist for not letting the song change mood. Its unique feel even amongst the tunes here gives it “standout track” moniker. “The Artifacts” plays with similar moods, but it doesn’t do it as effectively, as the song relies on the vocals instead of the guitars to create the mood. The vocals are great, but the evocative and pensive type of vocalist is not the type of vocalist they possess. Thankfully, they catch this by the end of the song and feature some tight guitar work in the back half of the tune.
“Eskimo Kiss” features jagged, intricate, organized rhythms against a smooth vocal line; the juxtaposition is immediately memorable. The vocal antics are especially memorable here as well; you can almost see the vocalist leaning out into the crowd and gesturing wildly. It’s another excellent song.
What is Left is a great EP. I Can Hear Myself Levitate presents a good snapshot of who they are and what they can do. The only thing I can particularly complain about is that the vocal style is very much a love it or hate it proposition. From beginning to end, they show instrumental chops, songwriting skill, creative energy and passion. What else could you want out of a rock band? Not much. If I Can Hear Myself Levitate gets to the right ears, we could have a serious contender on our hands. Watch for them.
Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.