Too Pure to Die

“We Are a Weapon” (State of the Art)

Compare to: Until the End, Donnybrook!, Throwdown

From the beginning of the first track, “For Me This Is Life,” it is clear that Too Pure to Die has no intention of messing around.

The huge breakdowns and menacing screams set a fantastic devastating tone for the entire album.

“We Are a Weapon” is the debut full-length release from one of the Midwest’s most promising hardcore bands. The up-and-coming band plays a straight-forward brand of hardcore that stresses musical heaviness over unneeded complexity, layered with screaming vocals containing themes of hardcore unity and a drug-free lifestyle, otherwise known as being straight edge.

Cynics will undoubtedly dismiss Too Pure to Die as just another tough-guy hardcore band that doesn’t offer anything new or different to the genre. Although it’s true that “We are a Weapon” certainly isn’t pushing musical or lyrical boundaries, the band deserves a bit of credit for sticking to what it knows and doing it well.

Each of the 10 songs on “We are a Weapon” is ripe with heavy guitar riffs, singalong choruses and enormous breakdowns — all the elements needed to make a solid hardcore record.

Unfortunately, the band stops there, and it never adds anything special or unexpected to the mix that would help it develop a unique sound. This can be excused, however, considering this is the band’s first album. It may take the band members a while to grow into themselves.

What works really well on the album is the dual-vocalist approach the band takes.

Each song is divided up more or less evenly between the two singers, which gives them enough variation in their vocals to keep listeners’ attention even if the lyrics can’t.

The band’s lyrics are far from poetry, but they are extremely effective for the type of music it plays.

A majority of the lyrics on the album deal some variation of the straight-edge theme, and are delivered with enough intensity to convince even skeptics that Too Pure to Die is the real deal.

— Dante Sacomani

Dan Dyer

“… of what lies beneath” (Roxie)

Compare to: Coldplay, John Mayer, Sade

The revolt against bubblegum pop and “angry-at-the-world” rock has a new player.

Dan Dyer’s debut album easily settles into the new trend of emotional folk-style, singer/songwriters who want audiences to pay more attention to their lyrics than their flashy clothes.

“… of what lies beneath” is a collection of heartfelt cries for inner reflection and upbeat but not uptempo calls for appreciation of the things people take for granted. The album flows well with no harsh contrasts or drastic changes. Dyer takes you through the gambit of emotions without alienating or torturing your senses. You can listen to the entire album without feeling exhausted.

Dyer, an Austin-based singer/songwriter, was discovered by Lenny Kravitz and signed to his personal label, Roxie Records. Kravitz produced the album and played most of the instruments. Although Kravitz elements are apparent, Dyer’s thoughtful lyrics and emotion-filled voice are the real stars. The musical backgrounds just set the mood.

Dyer has a voice that pulls on a listener’s heartstrings even when you are not paying attention to the lyrics.

Since the album is so calm and relaxing, it is easy to stop listening to the words and just hear his voice and the bass line. Dyer can be soft and sweet, harsh and powerful, or simply haunting.

In “Space Alien,” Dyer’s voice is almost painful. “I’m empty-handed like this drop of rain/ This life I’ve landed/ Space Alien/ We don’t belong/ We don’t belong/ This world’s not right/ There’s something wrong/ Oh, you can’t deny it/ Please take me home” may not seem like profound lyrics, but when sung by Dyer, there’s a definite pain expressed and felt.

After listening to the album, listeners may not remember many of the hooks or lyrics, but they’ll remember the feelings Dyer drew out of them.

At first listen, Dyer may be written off as just another singer/songwriter trying to ride the wave of anti-studio creations. But when the time is taken to listen, it becomes apparent that Dyer is someone whose talent surpasses trend.

— Tiffany J. Daniels

Widespread Panic

“šber Cobra” (Sanctuary)

Compare to: The Allman Brothers Band, Warren Haynes, The Dead

The members of Widespread Panic may be getting tired, but they’re not getting any worse.

The band has been touring relentlessly for 16 years or so now and has survived changing musical trends and the death of co-founding lead guitarist Mikey Houser in 2002. So it comes as no big surprise that it decided to take a rest from the road during 2004.

However, in true Panic, fan-loyal fashion, the boys are releasing three live albums from the archives this year to tide show-hungry heads over, and the second of these, the unplugged “šber Cobra,” almost makes not getting to see them in 2004 worth it.

“Cobra” is a departure from this year’s first release, “Night of Joy,” which features the horns of the Dirty Dozen Brass Band alongside Panic for a rowdy, funky, electric experience. This album, on the other hand, is all acoustic and gives Widespread Panic a chance to showcase its songwriting skills, unbelievable instrumental prowess and the ability to choose covers that fit the band perfectly.

Yes, “šber Cobra” has a lot of covers; in fact, half of the songs on it are written by other artists. The first song, Neil Young’s “Walk On,” is arguably the best tune on the album and features Widespread Panic at its grooving, uplifting best. Other highlight covers include “Can’t Get High,” written by a small Georgia band and performed for the masses regularly by Panic, Vic Chestnutt’s “Expiration Day” and “Can’t Find My Way Home,” a song by Steve Winwood and Traffic.

The originals on the album are good too. They’re mostly older songs, but for the most part, the covers are more interesting, if for no other reason than that they offer a nice change of pace for Spreadheads.

Two of the originals, though — “Mercy” and “Imitation Leather Shoes” — definitely get extra props — they simply rock. Plus, “Mercy” segues seamlessly into “Shoes” and demonstrates Widespread Panic’s ability to improvise and jam out, even on acoustic instruments.

In the end, “Cobra” makes one hope that these jam juggernauts don’t stay away too long, and proves once again that Widespread Panic has not lost its bite … or its venom.

— Aaron Butzen

Papa Roach

“Getting Away With Murder” (Geffen)

Compare to: Linkin Park, Limp Bizkit, Drowning Pool

If you were expecting something new and fresh — typical of a band that might be afraid of losing its audience after two albums of the same riffs and power chords — the new Papa Roach album “Getting Away With Murder” is sure to disappoint you.

The latest release sticks with the original formula that brought Papa Roach its claim to fame when it released the “Infest Album” in 2000. The music is loaded with the same brand of charged emotion that draws upon a fury felt toward conformity and failed relationships and once again delves into the favored teen angst cash crop.

Although these two subject matters may feel a bit overused by other bands, one would only hope that the new album brings something original to the table. Unfortunately, this never materializes. Instead, songwriter Jacoby Shaddix prefers to stick with lyrics about binge drinking and feeling “sad.”

“I look around sometimes I get sad/ ‘Cause I don’t know which way to go/ I look around sometimes I get sad/ ‘Cause my life is spinning out of control.”

In the song “Done with You,” Shaddix truly establishes himself as a lyrical maestro. “I count the days that we have spent apart/ I’ve got a bad liver and a broken heart.”

These are just a couple examples of Shaddix’s desire to sprinkle his lyrics with alcohol and absolute cheese.

Aside from the corny, clich‚ lyrics, “Getting Away With Murder” excels in its ability to form those catchy head-banging rhythms that helped Papa Roach succeed with songs like “Last Resort” and “She Loves Me Not.” The new tracks “Blood” and “Not Listening” have a very driving hard rock sound that at times releases a bit of a punk feel. The majority of the album seems to flow in a very systematic manner, making it easy for a listener to follow along. It doesn’t really force the audience to take an active role in listening, but instead pulls you along for the ride.

If you’re an oppressed teenager looking for some angry, mind-numbing music that you can just bang your head to, this album is great. However, if you’re not a fan of the plight of the forelorned rock star, “Getting Away with Murder” may not be your cup of tea.

— Mark Vestweber