Woo! Review time! This week, and first up, is the Classic Crime.

Let me begin by saying that The Classic Crime is not your older brother/younger sister's emo band. And, for the first time in a long time, that’s a good thing. From the forefathers of this genre/subgenre to the newer phenomenons, such as Jimmy Eat World, or Sunny Day Real Estate, previous generations of bands have been far superior to what’s come down the chopping block in the last few years. While the Seattle quintet isn’t quite free of the entanglements that have plagued the other bands in this era due to their first album, which relied heavily on progressions, and melodies. Though, the band’s second album brings promise that a band could come along and stretch the style past its self-imposed limitations.

Singer Matt MacDonald adeptly leads his bandmates through a set of songs marked by innovations that, compared to their contemporaries, seem positively revolutionary. Production values, for example, mean more to The Classic Crime than applying another coat of sheen to their tracks. The band brings more than a few loud guitars to the table [incorporating keyboards deftly into a few tracks] and varies up the style/rhythm of several songs to showcase influences ranging from Dashboard Confessional [Everything] to Queen [briefly in the vocal interlude on Sing].

This band’s appreciation for music from decades past is evident throughout the album [hear the ‘80s guitar on Grave Digging and the late 90s aesthetic at the start of R&R]. With MacDonald a stronger vocalist than many of his counterparts, the bands future looks bright should they continue to pursue some of their bolder urges.

Well, that's a wrap. Next week: Stryper. If you have any suggestions for future reviews, leave a comment.

Until next time...Knilvrie