Panic! At The Disco - "A Fever You Can't Sweat Out" (Fueled By Ramen)

The U.S. can be accused of many things, but producing bad music just isn’t one of them. Modest Mouse, Death Cab For Cutie and Giant Drag have all made waves in the past year or so, and indeed, it's getting to the stage where the U.S. is about the only place left where you’re guaranteed to source a good album. Personally, hailing from a country that – up until now – has prided itself on being a great cultural nation, I think the prospect of America overtaking Britain as the source of quality indie music can only be daunting. We gave the world Oasis, Sleeper and more recently, the incredibly successful Kasabian, the Libertines and Bloc Party. Much as I love the likes of Death Cab, they're hardly blessed with sing-along anthems.

This being the case, Panic! At The Disco are a very strange band indeed. Yes, they are American, and yes, they are arguably Indie, but their sound is not in keeping with the rest of the US scene. In fact, the titles of their songs aren’t in keeping either... “The Only Difference Between Martyrdom & Suicide Is Press Coverage”? “Lying Is The Most Fun Women Can Have Without Taking Their Clothes Off”? This is one of three things: the finest Indie album ever made, the most eccentric Emo album ever made, or possibly the most appalling dance album ever made.

One of those would have sufficed, but in a very gracious, weirdly pleasant surprise move, Panic! has decided to have a go at making a mix of all three. Oh, the wackiness! In fact, by the sixth song, “Time To Dance”, you just don’t know which genre the band fits into anymore. This has both positive and negative effects. On the one hand, you have to praise the band’s brave decision to experiment. On the other hand, this is arguably originality taken that bit too far. No particular style sticks, and although the songs are catchy, they are also quite clearly designed with a view to controlled experimentation.

This album could have been stunning. In fact, based on the hype, I was expecting something so remarkable that the album of the year would be all but decided. However, I’m actually a little disappointed. If the band hadn’t held back to the extent that they have done, this CD would have been phenomenal. As it stands, you have a well-conceived, original pop album. You don’t have what I expected though, and you could argue that Panic! have sold themselves short with this debut. Still, not to worry. Bands who produce debuts that fall short of the standard tend to make sublime second albums, if only to prove themselves and make up for lost time. Kings Of Leon are the ultimate example of this; their second album, in complete contrast to the first, was actually enjoyable to listen to.

Give it time and Panic! will be brilliant. For now, they will do well, but they’re capable of greater things.

(A Fever That You Can’t Sweat Out is in shops now, and I recommend it if you fancy an interesting change.)

Brigade - "Lights" (Mighty Atom)

A varied and thoroughly British album, Brigade's Lights is a fine example of rock and emo fusing together in a seamless manner. As a debut album, this is very polished and professional-sounding. The band have a confident, solid sound that should hold them over through a promising career.

"Magneto", the opening track of the album, sets things up nicely with a gentle easing in followed by explosive guitars and energy. Will Simpson (lead vocals and guitar) sounds a little American on this track, but it's still great.

"Meet Me At My Funeral" has delicate interludes (complete with what sounds like a triangle tinkling in the background), while at the same time having almost Funeral For A Friend-style wails and cries on top of driving guitars and great rhythm.

There are comparisons that can be drawn with Placebo at times ("Made To Wreck" and “Adjust”, for example), though far from plagiaristic, Brigade are perhaps paying homage to a band that has influenced them (much as Trivium pay homage to Metallica). Like Placebo, Brigade never let things get away from them too much, which is perhaps the only criticism of Lights - a little more... verve and bombast would have gone a long way. At the same time, not pandering to a simple radio-rock-pop single format means the band has a recognisable, pleasing sound. Other points of comparison would be Jimmy Eat World and Muse (if they were less flamboyant).

One of the best things about Lights is the way delicate moments are balanced effectively with heavier, more emo moments. They don't really fit into any particular scene. Artrock is present, rock, indie and emo all are nodded to throughout the album. They're a breath of fresh air in the cloying abundance of Emo bands that are clogging up the radios (My Chemical Romance, Aiden, etc. ad infinitum...), and prove that ridiculous clothes and a Hitler comb-over* aren't necessary to make an impact.

Distinct, intriguing and satisfying.

www.brigadeworld.com / www.myspace.com/brigade

* I find it astonishing people haven't been able to see the similarity between the Fuhrer's quoiffeure and the hordes of Emo-kids running around their town centres...

The Forecast - "In The Shadow Of Two Gunmen" (Victory)

Victory made an interesting call with The Forecast. The band's debut was a fantastic rock album, with some of the most exciting songs I'd heard in a long time, but was it emo? Or indeed, was it hardcore? Not at all. This act came from left-field and produced a sound that, while derived from various well-known styles, was fairly unique. This, their second LP, is a whole different animal, with the opening track (“Everything We Want To Be”) feeling like, if anything, a Kasabian track. Part of you expects the band to cover Ian Brown tracks for the rest of the CD. Thankfully this isn't the case.

“And We All Return To Our Roots”, followed by “(May You One Day) Carry Me Home”, show the band in business-as-usual mode. This is excellent emo-indie, with memorable guitar riffs and the expert merging of male and female vocal harmonies that is almost a trademark of The Forecast’s sound. “One Hundred Percent” and “Some Things Never Change” are two slower, more emotive songs and the mix of Kasabian-style crowd pleasing, emo explosions and sentimental ballads make for the most consistent opening few tracks encountered this year.

What follows is a refrain, followed by the blistering “A Fist Fight For Our Fathers”. This has been offered as a taster on MySpace, and it’s easy to see why. One listen to this track would make you pre-order several copies. Aggressive emo-core meets alt-country in a way that would somehow satisfy both moody emo kids and Ryan Adams sympathisers alike. This weird re-invention of alt-country continues on “Every Gun Has Its Own Tomb”. On an album that seems to have three very distinct parts, you are left in no doubt that this is the experimental section.

If Part One was the rabble-rousing section, and Part Two was the experimental section, then it stands to reason that Part Three will be the comedown. Freaky obsession-themed ballad “You’re My Needle” leads on to the frankly magnificent “West Coast”, which is The Forecast’s rock sound at its very best. From there, weaker, more melancholy track “It’s A Long Drive” leads in to the brilliant closing track “Welcome Home”. This track is so relaxing, at the same time as being very anthemic. I anticipate the waving of many a lighter at concerts.

I waited just over a year for this LP, and I think I can honestly say it was worth it. Better structure, better songs and experiments with styles that make this probably the most original record released so far this year. I look forward to seeing how it does in the charts, but one thing is certain: Hawthorne Heights, Fall Out Boy, Funeral For A Friend – watch this band very closely. They’re your future competition.

CMcG

www.the-forecast.net / www.myspace.com/theforecast