Skip to main content

79. Acceptance - Phantoms (2005)

With the wide diversity that now exists in popular music, I must admit that I feel a little guilty when I buy an album by a white male rock band. In fact, it seems almost quaint to still do the guitar-bass-drums-singing thing with no frills or stylistic ideals. As such, I rarely seek out straightforward rock albums.

I first heard Acceptance via iTunes' great "Free Download Of The Week" program, which is exactly what it sounds like. Acceptance was represented by the single Different, a piano-driven piece of passion. Though I dug the song, I felt I could not support another Coldplay clone, especially when the real thing isn't exciting me all that much lately.

But then on a whim I looked up Acceptance's debut album on Amazon.com and decided to take a listen. What a pleasant surprise to discover that the rest of the album has much more in common with Jimmy Eat World than it does with Travis. Indeed, a quick scan through the "thank yous" in the liner notes reveals a host of emo bands to whom Acceptance offers gratitude. And the "Customers Who Bought This Title Also Bought" section on Amazon reveal more emo CDs.

That said, Acceptance is a bit *ahem* different, from your usual emo band. Different may be the odd man out on the album, but it is followed by an instrumental titled Ad Astra Per Aspera (Latin for "through our endeavors, the stars") which shows Rush-like aspirations. Even so, those two songs are surrounded by 10 others that display the hallmarks of emo. Most songs at the three minute mark? Check. Dueling vocals and harmony? Check. Passionate, earnest lyrics about bad relationships and the coldness of life? Check.

Whew, in my twisted categorical mind emo bands don't count as straightforward rock, even if all the members are white boys. That's a load of guilt off my mind.

Standout songs include Take Cover, The Letter, and In The Cold, but I certainly don't admire them for their lyrics. They say almost nothing interesting or arresting (instead we get strings of cliches, like the ridiculous chorus of So Contagious: "Could this be out of line? / To say that you're the only one breaking me down like this / You're the only one I would take a shot on / Keep me hanging on / So Contagiously"), but are still excellent to sing along with, especially on a nice summer day with the windows rolled down.

Grade: B+
Fave Song: The Letter

Comments

Popular posts from this blog

REO Speedwagon: R.E.O. Speedwagon (1971)

REO Speedwagon got its start in the late 1960s on the campus of the University of Illinois in Champaign/Urbana. The band grew out of a friendship between a students Neal Doughty (piano/keyboard) and Alan Gratzer (drums). Joining up with a couple of other musicians, they took the name R.E.O. Speedwagon. It wasn't long before they started getting gigs at parties and bars, doing covers of the hits of the day. The band cycled through several players in its first three years, with Gratzer and Doughty as the only constants. One-by-one they added the members that would form the first "official" lineup: singer Terry Luttrell in early 1968, bassist Gregg Philbin later that summer, and guitarist Gary Richrath at the end of 1970. Richrath was a native of Peoria, 90 miles northwest of Champaign, and had essentially stalked the band until they let him join. It was a good move, as he not only an accomplished guitarist, but also a songwriter. With Richrath the band ascended to the n...

Stuck, or Obsession Cessastion

You may have noticed that things have slowed down around here. I had the summer off from teaching, and I spent it with my 7 month-old son. I gave myself permission to make this blog less of a priority. Well, "less of a priority" is putting it lightly. Initially, I considered an abrupt retirement. But then I reconsidered. Maybe the proximity to Brett Favre is causing this. If you're a long time reader, this is probably not all that surprising to you. Since 2007, it has become an annual ritual for me to soul-search about my waning interest in music. First I blamed an inability to express myself and a lack of quality music . Then in 2008 I cited new technology and the death of the album . Last year I wrote about how my changing life priorities hindered my ability to seek out new music. I've done a lot of thinking about it this summer and in truth I believe this was all just dancing around the issue, a slow realization of something I didn't want to admit to myse...

Billy Joel: Greatest Hits, Volumes I and II (1985)

As you may know, I'm something of a connoisseur of compilations. I have three guidelines that I like my greatest hits to follow, though I am open to these rules being disregarded in certain cases. It's not an exact science. Billy Joel's 1985 Greatest Hits Volumes I and II (an odd title for a set that was never sold separately) is proof of that.  It mostly follows the rules. The songs are in chronological order. There are no remixes, just a couple of single edits; there are two live songs, but those were actually were the versions that charted. And there are two new songs - we'll get to them eventually - but both ended up in the Top 40, so in retrospect that was a good decision. My mom bought the double LP when it came out and then dubbed it to a tape that lived in her car for at least three years. It and An Innocent Man were part of the soundtrack of the second half of my first decade of life. So I have a hard time criticizing something so ingrained in my consciousne...