Artist: Queens Club
Genre: Rock/Dance
Label: Tooth and Nail Records
Release Date: March 23rd, 2010
If any genre has been beat like a dead horse over the past couple of years, its been dance rock. Most of the time the beating is done by someone wearing neon colored clothing and swinging a Mac Book Pro loaded with the best recording programs known to man while screaming at the rotting carcass with a voice drenched in autotune or distortion. Sometimes both.
The biggest problem I have with the genre is the lack of musicianship and, rather, the dependence on sound effects and electronic beats produced by said Mac Book. I don’t mind those things serving as enhancers to the music, but not as a foundation. It seems the rock part of the equation has been overshadowed by “beeps” and “boops.”
Last time I checked that was called eletronica. And even though it does take some talent to produce said music, it’s not rock and roll.
What happen to pure dance rock? The kind that would be played at a house party on a humid summer night? Or performed in a club while couples dance the night away?
Apparently it was hanging out with the most unlikely bunch of guys: The Chariot.
That’s right, dance rock was kicking back with members of a metal band. And when everything was said and done, it coerced guitarist Dan Eaton and drummer Jake Ryan to help in leading it’s own personal revival. The two decided to form Queens Club and help the genre reunite dance with rock and roll.
Queen’s Club attempt at the perfect reunion, titled Young Giant, may not have been a complete success, but the band took steps in the right direction to restore the genre to its rightful sound.
From the opening track, “Are We? Will We?,” the band does show this isn’t just a group leaning on recording software. The song has a great drum beat and dirty guitar riffs that firmly entrenches the group as a rock band first. The song does incorporate electronic effects, but not enough to overwhelm the rock foundation the band has built itself on.
The band continues to seamlessly blend rock and dance with success on most of Young Giant. “Issinair” and “Dust” brings back memories of Jonzetta’s Popularity as both songs are heavily draped in the pop/dance mold and could easily been the 12th and 13th additions to one of the best albums of the past decade.
“Family Ties” sounds like it should be on a Bravery album, while “Lydia” and “I’m American” brings a dirtiness and energy reminiscent of The Strokes and The Vines. Both influences are hard to ignore, but the band adds just enough of their personality to each track to keep it strictly influence and not a hijacking.
But the band does show some originality on Young Giant. “Cutt Me Off,” “An Apparition,” “Upstart” and “Less Talk” are all upbeat songs with good, catchy choruses. Each track really shows the band’s creativity as they blend indie rock with a dance/pop sensibility that’s enjoyable and a sound I hope the band does more of in the future.
The only song that truly puts dance over rock is the closing song, “Danger Kids.” With heavy use of synth, echo and other computer inspired effects, the track is a barrage of sound. But I found myself not minding it as much, as the band doesn’t switch to all out dance mode on the entire album (minus the beginning of “Dust”). I found myself actually liking the song due to the energy and pulsing beat it brings by blending so many effects in such a neat, nice package.
Even though the album is solid debut, lyrically it isn’t the greatest example of song writing. If you’re looking for something thought provoking while you dance, you’re listening to the wrong album. But I don’t think the band was trying to write the most lyrically genius album ever and instead opted to make a fun and simple record with no metaphors or deeper meetings firmly planted in each song. It’s not terrible song writing by any means (see Family' Force 5’s Dance or Die for an example of that), but I do hope on future releases they concentrate a bit more on the lyrical aspect of their music.
The musicianship on the album is above average and the overall flow of the album good. Eaton’s vocals (who also plays guitar on the album) are a true highlight, as he sings with a certain cool, dirty vocal style that exudes an attitude that dance rock should: laid back and fun. Ryan’s drumming isn’t anything ground breaking, but its solid. The same can be said for guitarist Andy Nichols and bassist Tyler Bottles’ performance. But the band sounds like they are enjoying themselves, which is worth more than a blistering, forced guitar solo any day.
If your looking for something that gives equal billing to both rock and dance, then Queens Club has crafted a 12-song debut I believe you would enjoy. The band still has room to grow and improve, but this is a great start that already sits them apart from the other mundane acts polluting the genre.
Final Verdict: 3.5/5
Download This: “Cutt Me Off”; “An Apparition”; “Less Talk”; “Family Ties”; “I’m American”
Apparitions of Melody is a picture perfect example of maturing one’s sound without losing what made you great. Kids in the Way released three solid albums during this decade, but this one was truly a masterpiece. The bands blend of alternative rock riffs soaring choruses and punk-inspired energy demands just as much attention as they did on both their other releases, but Melody added a more personal vibe to it. The tracks on the album are draped in shadows giving the album a different, darker canvas for the music to be written on then the band’s past efforts, but had choruses that served as the light at the end of tunnel. Also, lead singer Dave Pelsue unique voice and screaming raises the energy above the band’s two other efforts. A raw, truthful and enjoyable listen that defines Kids in the Way. 
I remember picking up this album on a whim while on a mission trip in Georgia. I didn’t know nothing about the band, but really dug the minimalist art adorning the front. It was one of the first times, of what became many, when I went with my gut reaction on an album and it paid off. New Medicines is still in heavy rotation 6 years later. With this album, Dead Poetic introduced me to the screamo genre and heavily influenced what type sound makes my ears perk and my blood run to this day. New Medicines mixed hard rock, primal screams and incredible melodies that hooked me from the opening track. Unfortunately, the band didn’t have much longer as they changed their sound drastically with their next album, Vices, more or less becoming an Avenged Sevenfold knockoff, a band I am not so fond of. Dead Poetic broke up after the release of Vices, but New Medicines will always be held in high regard in my music collection as an album that impacted what musical path I embarked on. 
Even though I remember this band before they broke into the big time, I was never really a fan. I was young and Nu-Metal consumed my life’s soundtrack. I enjoyed some of their songs from time to time, but my appreciation for the genius of Switchfoot wasn’t realized until they broke into the mainstream, a rare occurrence for yours truly. But since then I have come to put Jon Foreman and the boys in their rightful place as one of the best bands of the last decade. With their most recent release, Hello Hurricane, the band jumped the major-label ship and decided to go indie once more. A beautiful decision. Hello Hurricane is epic, emotion fueled and thought provoking. It takes the best of rock and blends it with the best of pop. Its complex, yet simple. It’s pop, but very clearly has it’s roots in rock. It’s lyrics cut deep, but heals in the same accord. Hello Hurricane serves as a reminder that Switchfoot is just getting started. 
Relient K has come along way since it pop-culture aware, pop/punk beginnings. Don’t get me wrong, I love some of their early stuff (“Sadie Hawkins Dance” is still one of my favorite songs), but the band has matured and has learned the art of crafting the best of alternative, punk and pop sounds into a tasty musical smoothie. Forget and Not Slow Down serves as the band’s best album to date, taking the aforementioned ingredients, added a bit of folk and concocted an album that will have your ears grinning. The songs are crafted to be both catchy and smart, as Matt Thiesen continues to cement his place as one of the best lyrical writers of my generation. The album accomplishes one characteristic that all great albums have: it appeals to the listener. The songs are all about letting go of past hurts, learning from them and not letting them hold you back. We can all relate to finding love, losing love and ultimately dusting ourselves off to begin another quest inspired by love. Relient K decided to gives us a soundtrack to keep us company. 
“There is no way this album was making the Top 50 of the decade,” I told myself through greeted teeth. How can a band that just released an album in 2009 make a list of my own personal favorites of the past ten years? By producing an album so riveting it made me look at music in a whole new way. The Clearing, released on Dreamt Music (a sub-label to metal powerhouse Facedown Records), creates a calm, surreal atmosphere littered with pop/rock melodies, catchy choruses and a whole lot of heart and soul. The Clearing achieves a level of greatness that leaves you at a lost for words. It should be criminal for a band this young to be this good. Muse is the only band on the planet that can literally transform my reality when I listen to them. Sleep for Sleepers has just seated themselves at Muse’s table. 
All of Project 86’s album could have made this list. They’re that good and that influential to my music life. But I fancy myself a man of restraint and, as hard as it was, I had to take a hard look at which albums truly deserved to be included on the list. Rival Factions started at the bottom of the heap, but like a 100-1 long shot at Church Hill Downs, it surprised with a last minute sprint towards to finish line. I had forgotten how good this album really was, but after really examining it, I quickly realized how impressive a work the band had constructed. Project 86 decided to role the dice and experiment with a lot of different sounds on Rival Factions. Everything from 1980s inspired synth-rock to experimental hardcore to punk was all used in the making of this album. And it all worked together to again add to the mystique of Project 86 more so than any other work the band has put out. It astounds me how an album that was no where near the elite in my personal rankings of Project’s albums, can make my best of the decade list. Just goes to show, never count out the underdog. 
The opening track, titled “Descending Upon Us,” starts with a soaring guitar solo, showing that the band is far from ditching melody, but soon chugging guitar riffs and rapid fire drum beats take over. Clark’s vocals kick in with ruff, growling texture which leads into a clean, melodic chorus. When it comes to the rough/clean vocals style, Clark is second to none and he continues to show just that on this release. The lead single off the album, “Collapsing,” and “Desire the Pain” follow the same structure. 
one complaint I had against The Best-Worst it was the lack of song variety at times. Luckily the band had a sound that, I can honestly say, I had never experienced before and kept me more than interested. But the band has done something few bands have done successfully: Keep what makes you unique and add new elements around your core sound. 
The fusion of rock and dance is a mixture that is really good or really bad. Especially during the late part of this decade with the emergence of such mundane acts as Breathe Carolina and 3OH3! to the fall into dance mediocrity of the once entertaining Family Force Five. But in 2006, a five-piece band from Mississippi, dubbing themselves Jonzetta, found the correct combination of rock and dance with their freshmen release, Popularity. The album took rock attitude and dance club sensibility to produce an album that was refreshing and fun without sacrificing song writing and musicianship. “Communicate,” “Welcome Home,” “Get Ready (Hot Machete),” and “Backstabber” are up-beat rock/dance anthems that bring an enormous amount of energy with catchy choruses and foot-tapping beats that are littered throughout the album. But Jonezetta isn’t all about danceable rock songs. “The Love that Carries Me” and “The City We Live In” are great pop/rock ballads that give the album a good break form the raucous dance beats and guitar riffs. With these tracks, the band serves notice to the listener that the are more than a one-dance pony. Arguable the best track on the record is the title-track, “Popularity,” and serves as a perfect example of how good the band is at seamless blending dance and rock together. Led by great musicianship, lead singer’s Robert Chisolm smooth voice and a whole bunch of good beats, Jonezetta showed on Popularity that you could have fun without leaving musical quality on the cutting floor. 
I have to give credit to my brother for this album making the list. When he said that Paper Walls was just as good or better than Ocean Avenue, I scoffed and replied “No Way.” He was right. It may not be better than Ocean Avenue due to it heavily borrowing from what made that album so good, but it did return the band to it’s pop/punk glory in this writer’s view. The band returns to writing poppy, catchy choruses that serves as fuel for the entire album. “The Takedown” and “Fighting” are two great opening songs that gives just a taste of how good this album is. “Light Up the Sky,” “Shadows and Regrets” and “Keeper” are beautifully written songs that shows how good the band is at writing emotion filled lyrics. Lead singer Ryan Key brings life to each track with his raw, soaring voice and Sean Mackin brings the signature violin strokes that made me take notice of the band to begin with. Yes, I said violin. When an album returns a band to past glory, it deserves to be recognized. This album is a reminder that going back isn’t always a bad thing. 
My love affair with piano pop may have started with Coldplay, but Waking Ashland was my first indie piano pop act and their first album, Composure, still holds up as an unbelievable album. Composure is sincere and honest as it touches on the good and bad of relationships with a enormous pop presence. Catchy choruses and a souring piano makes this album one of the top in the piano/pop genre. The ability of the band to be able to write both gloomy, heartbroken ballads to upbeat, lively pop songs is amazing. What is even more impressive is how the band can blend both with stunning results. The songs “Rumors,” “I Am For You,” “Edinger,” and “Medication” are all examples of gloomy verses that lead into big, epic choruses.The choruses may well be the best part of the album as almost every track has a huge, catchy choruses that you will be humming as you go about your day. While big choruses ultimately drives the album, my favorite song on the record, “Sing Me To Sleep,” is hauntingly beautifully and emotionally stirring as lead singer and keyboardist Jonathan Jones vocals are spine tingling good. One of the best vocal performances I’ve heard on a song this decade. Unfortunately, we will never know how good this band could have been. After releasing their second album in 2007 titled The Well, the band called it quits later that year. 
From the very first drum beat and guitar riffs of “Revolution,” the opening track of On a Search in America, I knew that Dizmas was going to be one of my favorite bands. No other band had a better debut album than Dizmas on this list. The album is jammed with great rock and roll songs accompanied by a punk attitude and grunge distortion. Whether it’s lead singer Zach Zegan’s transition from smooth vocals to raw, primal screaming or the energy-filled guitar-riffs, the band knows how to rock. The drumming of Clayton Hunt is especially ear-catching with a tribal, thumping style that produces fantastic beats and serves as a foundation for each track to rest on. “Saturday” really shows the band’s punk sound as it is a controlled frenzy of riffs, beats and screaming with a great chorus that ties it all together. “Controversy,” “Riots and Violence,” “Let This One Stay” and “So Long My Friends” are rock and roll to the core, while “Redemption, Passion, Glory” serves as a passionate worship song to Christ. The passion and honesty of this album makes if more than worthy of it’s spot on the list.
There isn’t much left to say about this album. Whether it’s the punk attitude, catchy choruses or Haley Williams’ vocal performance, Brand New Eyes is a tremendous pop/punk album. Whether its the energy of “Careful” and “Ignorance” or the stripped down sound of “Misguided Ghosts” and “All I Wanted,” the album is a pleasure to listen to from top to bottom. The one aspect that really sits this apart from the groups other albums is the maturity in the song writing.The near break-up of the band gave Williams’ lyrics more emotion. You can sense how close the band came to calling it quits and hear a reinvigorated band that wanted to make the best album of their careers. Brand New Eyes is the Paramore album that everyone will point to as the bands best and brightest. 
in the bottom of the list. Thousand Foot Krutch (TFK) returns with an anthem fueled album that will have you pumping your fist in the air. The band reunited with producer Aaron Sprinkle and recaptured the same energy that their initial collaboration produced (2003’s “Phenomenon) and helped build the group’s loyal fan base. If you like rock anthems, TFK’s Welcome to the Masquerade is for you. 
I Am Alpha and Omega is one of those bands. The War I Rage only contains 3 tracks, but those tracks are nothing short of awesome. These guys are poised to take the screamo genre to the next level as they combine the style of Underoath with the epic sound of The Devil Wears Prada, but giving the genre a fresh sound that hasn’t been heard since it’s birth. 
band’s debut, 2008’s Til We See the Shore, their sophomore release is anything but slumping. “Rocks Into Rivers'” continue to establish the band as unique, but doesn’t take away from their Piano/Power Pop identity. The album does seem rushed in spots (released just a little over a year apart from their first), as it doesn’t seem to have as many great choruses as See the Shore contained. But the album is solid and continues to build Seabird as more than just the “new kid” in the genre.
vocals on his first album Southern Weather) has grown into a full band embarking headlining tours and playing stints on the Warped Tour. Monster Monster still is chalk full of southern influences combined with alternative rock riffs and poppy choruses. Even though the album lacks some of the acoustic ballads that made Southern Weather a well-rounded listen, Gillespie, with the help of his new band mates, continues to push his music to the next creative level. Which is all any fan can ask. 
boys from Florida. Now that honor goes to The Devil Wears Prada, who has reinvented the genre to an extent but still relies on the tried and true formula that Underoath perfected: Primal screams with smooth as silk vocal style in the chorus. Driving all guys with NEON tight shirts and children’s department tight jeans to, yet again, try and start a band. But TDWP has done it a bit different with their third album: A little more epic, bit more aggressive and hooks rivaled only by They’re Only Chasing Safety. The only thing keeping this album out of the Top 10 was the difficulty of distinguishing one track from the other and sometimes the screaming can come across as gibberish, though it is clearer the their sophomore release Plagues. Both problems occur frequently in the genre and something not even the top-dog can solve. 
Jelly. Stan Lee and Marvel Comics. Sonny and Cher. The British and bad teeth. You can add Swithfoot’s John Foreman and Nickel Creek’s Sean Watkins to that list. Even though Fiction Family is technically their first official collaboration, Foreman and Watkins polished song writing, storytelling and musicianship are some of the best I’ve heard in 2009 and of the decade. A blend of both Foreman’s pop sensibility and Watkins’ organic, folk style make for some great melodies and memorable choruses dealing with everything from self-esteem to heartbreak. 
Atmosphere in music has become and underrated attribute. Chugging guitar riffs and “PHAT” beats garner most of the attention on albums these days. But Sleep for Sleepers decided atmosphere was the foundation The Clearing was going to built upon. And that foundation lead to the freshest albums of the year. The Clearing is the best combination of alternative rock, pop and ambient sounds in 2009. Think Anberlin combined with The Send and you have Sleep for Sleepers. The Clearing is an album full of substance and hooks set to the perfect dreamscape atmosphere. 
gh skin and aggressive attitude. After their sophomore release, II, cemented the band as tour de force in Southern Metal, the band completed their story driven trilogy of Ma Maylene and her Sons of Disaster with III. Though not as epic as II, Maylene continues to deliver their southern roots with heavy guitar riffs and Dallas Taylor’s screaming vocals. But the band is more than just loud, their blending of guitar melodies with driving drum beats and their talent for penning catchy choruses, gives this album a step above all other releases in the genre. 
. As much as I would like to say that I had a last minute epiphany driving me to buy the album, I can’t. I ended up buying this album only because I was able to purchase it for $2 on Amazon. But after listening to it multiple times, I would happily have paid full price for it. The evolution the band went though on this album surprised me. For every hard rock song there was a song that displayed Lacey’s voice in a more pop style while keeping the rock sound that the group was founded on. A great achievement for a band that, with this release, shows they are not ready to be boxed in quite yet. 
These guys must have the worst romantic relationships on planet Earth. In Shallow Seas We Sail is full of angst and bitterness over broken hearts and friendships. But the guys from Emery did it in a way that is therapeutic rather than depressing like other bands in the “emo” genre. The storytelling of each relationship is drenched in emotion that easily lets the listener picture the scenes each song paints. The contrasting singing and screaming vocals hasn’t been this good for the band since their sophomore release “The Question” put the music world on notice. Not to mention the always present musical chaos the band brings is at it’s best. Any other year and this album might have been number 1. 
their 2003 release Songs to Burn Your Bridges By, my entire musical world was turned upside down, sideways and thrown faced first on the my new musical foundation. So, for me to say that Picket Fence Cartel is as good as Burn Your Bridges is really I need to say about this album. From the opening track (“Destroyer”) lead singer Andrew Schwab and the boys return to the aggressive, hook driven alternative rock that made me take notice of them the earlier part of this decade. The rawness of the album is what truly makes it stand out. Even though I say the band is Alternative, you could easily throw the words hardcore and punk into the descriptions as well. There’s time where I think they all walked into the studio and decided to record whatever was on their minds, whether it be on singular sound or a combination. Regardless, Picket Fence Cartel continues the trend of Project 86 giving the listener a unique and satisfying musical experience. Whether its the driving guitar riffs, the war-like beating drums or the truth-filled lyrics of Schwab, Picket Fence Cartel is Project 86’s declaration of war on music. 
Showbread fans, the bands knack for providing new sounds on every album is either a blessing or a curse. As much as I enjoy the band, I too wished they would give us something combining all the albums above into the ultimate Showbread album. With The Fear of God, the band did just that by bringing together the best of the three albums to make a, dar I say, the perfect Showbread album. Incorporating screamo, rock, punk and a bit of industrial, Showbread gave their fans a love letter of all the sounds they once encompassed and in the process made their most accessible album to date. 
Now? The album is full of loved found and loved loss, but takes it in different directions ranging from “the one that got away” to “what was I thinking” relationship decisions. The band has a great knack of blending good pop hooks with a rock and roll attitude that serves as something new and refreshing. The vocals are perfect for the song subjects and the band does a good job of mixing up-tempo songs with slow-ballads. A aspect of music that has become a lost art of sorts. This Providence is a band to keep an eye out for in 2010. 
the elitist culture of hard music. But around 2006, I discovered that other styles of rock can be just as enjoyable and inspirational. If it wasn’t for that revelation, Hello Hurricane (among others) would never have graced this list. In this case, it would have be a great mistake on my part. This album is amazing from top to bottom. From the vocals and lyrics of Jon Foreman to the bands fun power-pop/rock sound, everything just flows. Much like The Beautiful Letdown, Hello Hurricane is a complete album that returns the band back to greatness. A greatness they deserve to have.
gone mad!” Well, I suppose I am mad then. In My Blood Again is an EP that displays a maturation, both lyrically and musically, for Ocean Is Theory and accomplishes it in four tracks. An impressive achievement. I won’t go too deep into why I like it, due to the fact I have already written a review of the album on this very blog. I will tell you this: If you like alternative rock like Thursday and Vheissu-era Thrice, you will like this album. An unbelievable achievement for a band that will garner them even more attention. 
ave enjoyed from the get go. Forget and Not Slow Down’s theme is forgetting the past and build towards the rest of your life. Whether its a severed relationship with a past love or moving on from mistakes, Relient K has penned an album with a mature, yet still quirky, passion that continues to define this band as creative and impressive. It’s pop melodies are unmatched as Matt Thiessen continues to mature lyrically and a few of the bands friends making guest appearances don’t hurt (the song “Sahara” features House of Heroes' Tim Skipper, Aaron Gillespie from The Almost, and The Classic Crime’s Matt McDonald). Relient K has continued the trend they started with MmHmm, and continues to impress with Forget and Not Slow Down.
aggressiveness the band seem to lack on some tracks of their sophomore release, Riot!, was back and better than ever. Haley Williams’ voice had been unchained, allowing her to show her tremendous vocal range. And maybe more importantly the band had went through a near breakup, thus giving Williams a little more to sing about other than ex-boyfriends. Brand New Eyes is an aptly named album, as the band is looking through them and the critics are doing the same. 
year) might be one of the best finale’s since M.A.S.H. Any band that can have an opening track inspired by Dumb and Dumber (“‘84 Sheepdog”) and then question a creations arrogance towards its maker (“Made Too Pretty”) and make both have relevance to the listener is an amazing feat. Hell or High Water will be an album future artists will strive to emulate. Hell or High Waters’ alternative/indie rock sound creates a beautiful picture of hope, doubt, love, worship and faith. 
have been a tragedy. A band releasing a concept album of the coming war between God and Satan and the interactions between the two? These guys must have been crazy, right? If these guys were crazy, it’s that good type crazy. The one that produces genius regardless of the huge task set ahead of that “crazy” person. Son of the Morning is an metalcore album like none other. It’s epic and amazing. Beautiful and brutal. Bold and approachable. Truthful and brave. A truly moving experience of good vs. evil. A spine-tingling reminder of a powerful God and a boastful Satan. There are moments of chest thumping pure metal (“The Finisher”) and heart wrenching, tear inducing melodic songs of doubt and redemption (“Reveries of Flight”, “Commissioned By Kings”). An unbelievable album that has put Oh, Sleeper at the top of metalcore genre. 
poor to the wealthy and everyone in between, we are all begging for something. Whether its love and forgiveness or money and selfishness, we all are living this life in search of something. Thrice continues to amaze as a band, as lead singer Dustin Kensrue vocals are full of passion adding to the incredible musicianship that encompasses everything from straight hard rock to a more dirty, gritty rock sound. They even have songs with a touch of folk-rock. Every track on the album is unbelievable, as they touch on faith, love, disappointment, ignorance and life in general. This is what music is supposed to encompass. To move you with emotion and make you think like you never have before. Beggars does that and more 
