Showing posts with label Knapsack. Show all posts
Showing posts with label Knapsack. Show all posts

Tuesday, August 20, 2013

Knapsack ‎– This Conversation Is Ending Starting Right Now (1998)


Boasting a slightly sharper production (courtesy once again of Drive Like Jehu drummer Mark Trombino) and more desperate sound than its predecessor, Knapsack's third album sounds like what it was - a great band making their somewhat angry final record. Criticized for sameness in the past, Knapsack attempts to stretch out a bit more on This Conversation, with some degree of success. Ultimately, though, what made people like the band was what the band delivered: straightforward, no frills emotional rock. While certainly not groundbreaking, they did it remarkably well.
Josh Modell
allmusic.com

It's easy to reminisce upon days you never lived. To look back upon the memories you never experience, and even tell stories of the life you never lived. I know I'm guilty of it, aren't we all? And while I'm far from a habitual liar, I like to think I was a child of 90's emo music. I'm not, at all. I feel a much stronger affinity towards those emotional 90's masterpieces In the Aeroplane Over The Sea and Either/Or than I do towards Nirvana, Pearl Jam, Superunknown, or the grunge movement. Needless to say, as much as I wish it weren't the case, I was a giddy child meeting the Backstreet Boys (Yes, I met them; and this is a judgement-free-zone, right?) while Knapsack was busy releasing a seminole record in third-wave emo music. A testament to the powers of emotional lyrics and parallel guitars driving a record forward rather than louder, more abrasive instrumentation, This Conversation Is Ending Starting Nowis a too beautiful record to be overlooked as often as it is. 

Highly melodic, This Conversation Is Ending Starting Now is Knapsack's third and final record. The pinnacle of their short-lived career, the record is highly melodic, as the hypnotizing guitar riffs are the main draw of the record. Each song is sounds fresh as can be, even after we're opening it up from the vault over a decade later. "Katherine The Grateful" is a romping, fast-paced example of this quality on full display. The percussion often follows suit ("Arrows To The Action," doubles as a catchy single and a furious display of subtle percussion), as it manages to go from the forefront of the performance to a softer backbone to lean on in the blink of an eye. Everything from the bass to the guitar to the drum is very tight and well-produced, as is expected from a producer such as Drive Like Jehu drummer Mark Trombino, the indie-rock is fitting and cohesive. The aspect that surely set Knapsack apart, though, is Blair Shehan's vocals. You may have heard his later work as vocalist on The Jealous Sound, but nowhere else do his whispery screams feel so at home as they do one This Conversation Is Ending Starting Now. Emotional and heartfelt, his voice is what sets apart Knapsack from both contemporaries or predecessors. It's certainly not the most talented voice in the world, but the raw yet crystal clear style is what my personal affinity for Knapsack revolves around. His whispers that abruptly erupt into all-out screams are an enticing burst of energy that prompt the listener to join in, and the lack of pretension or cliche in the lyrics (I mean seriously: read that damn title, not too clever, but clever enough) make you believe in what you're singing, too. 

Yes, it's been done before in more exciting and groundbreaking fashion. To be honest Knapsack doesn't offer a whole lot new to the palate of the emo aficionado, but it does something more than that: it makes you like it. This Conversation Is Ending Starting Now is a record that's an incredibly catchy, likable version of an experience most people shove aside as daunting, and Knapsack at its best is an experience to cherish within itself.
Eric
sputnikmusic.com

I'm sure a fair amount of you enjoy, or at least are familiar with the band The Jealous Sound. You may or may not know that lead singer Blair Shehan had a band prior to The Jealous Sound, that band was Knapsack, and this is their finest work.

Their career as a band spanned only a meagre three albums, but the talent and cohesiveness of this band can't be measured in the number of albums in their catalog. Because of the success of the Jealous Sound, Knapsack are often overlooked, but this album will let you know exactly why they're not a band to be cast over.

The place that Knapsack really draws you in is with Shehan's voice. It's a talented voice, but at the same time something you feel like you can sing every word along with. It's honest, and it's strong, and unique in a way you don't find with many indie rock bands on the scene today. The voice is something you can find yourself identifying too, and that's how the lyrics are tied in as well. It grabs you as soon as you hear it, and takes you on a ride throughout the albums duration. The sincerity of Shehans voice puts every listener in a place where they understand what this music is about. The lyrics are intelligent, without ever being pretentious or cliché. "The shake of the shame, But it hangs around your name, for the first time you're afraid, And you take what they left, choke on their success, but you're nothing anyway."

The musicianship is tight, and cohesive. The guitar isn't too complex, the drumming isn't exceptional, and the bass isn't overpowering, but it all just fits. Knapsack have even incorporated some quite uncommon instruments into this record, including sleigh bells and an organ. These instruments fell right at home in the music, they don't feel forced as some bands do. The main problem with bands like this is usual feeling of "haven't I heard this song before?" "No," is the answer here. With the added incorporation of a cello, and a violin, there's enough distinction between each song to keep things interesting. Clocking in at around 30 minutes, you won't find yourself having to skip anything here.

This is solid, straightforward indie rock at it's very finest. Music you'll be humming and singing along to as long as your CD will last you. Standout songs are "Katherine The Grateful," "Cinema Stare," and "Change Is All The Rage."

If you enjoy bands such as the Jealous Sound, Rival Schools, Far, and Benton Falls, this is something you'll be doing yourself a favor to purchase.
Anchors
punknews.org

Knapsack ‎– Day Three Of My New Life (1997)


Davis, CA, pop-punk band Knapsack's second album has an excellent title and music to match. Sure, this kind of earnest, emotional rock had been done a million times - particularly by Samiam, whose Sergie Loobkoff would actually join Knapsack before their next record - but the songs and style of Day Three are ultimately quite timeless. The themes - romance and the loss thereof - are also fairly typical, but when handled by singer/songwriter Blair Shean's gritty voice and witty pen, they transcend.
Josh Modell
allmusic.com

If I could rate Knapsack as a band rather than their individual albums they would surely be in my top tier. Each one of their full-lengths is an album you find yourself liking. Yeah, that's it, just liking, at first. Well, this is me, at least. Until one sunny afternoon or some bullshit like that, you realize you've played This Conversation Is Ending Right Now to death, an infinite amount of times and it feels even fucking fresher, more memorable and distinct than when you first laid ears on it a year ago. Blair Shehan's gritty vocals are so utterly grimy and imperfect, but you don't go long without singing along to "Decorate the Spine" or something, it just doesn't happen. This is Knapsack as a band though, we haven't even gotten as far asDay Three of My New Life yet, thanks to my fittingly lackadaisical reviewing. 

First though, it'd be helpful to gain a better grasp on the band. Remember the days of early 90's emocore... of Rites of Spring, Embrace, Other Obvious Namedrop, those bands? Me neither, but we wish we did, don't we? Anyway, Knapsack is a sad representative of the bastard spawn of that era. One of the many, I might add. Before pussy shit like American Football and after pussy shit like The Get Up Kids became the norm for the genre, Knapsack was balancing on the thin line, maintaining the invigorating energy of emo while incorporating the friendlier, indie aesthetic of more digestible influences. They weren't alone by a long shot-- Texas Is The Reason, Mineral, Braid, Christie Front Drive, and a million other bands were doing more or less the exact same thing next door. Thing was, Knapsack basically perfected it. They might not be sharing the limelight with aforementioned bands, but Knapsack's music was a lot more fun than said bands, anyway: louder than Texas Is The Reason, catchier than Mineral, more fun than Braid. Chugging guitars, equally emotional and nonsensical song names and lyrics, and a vocalist you weren't sure whether to bow down to or just shake your head in pity at (either way, it's memorable), Knapsack defined the middle ground stuck between catharsis and catchiness. They were the late 90's bastard of earlier emo bands.

And yet, Day Three of My New Life is a disappointment in ways. It's like Knapsack only had a set amount of dynamism for their record, and chose to spend it all on the first four songs only instead of divvying it up. Fuck, I don't blame them. If the dull, monotony of "Henry Hammers Harder" and "Boxing Gloves" is the sacrifice for the orgasmic perfection of "Thursday Side of the Street," you've got yourself a deal, Shehan and company. The liveliness of each throat-groggling, bright, anthem that graces the beginning of Day Three of My New Life is enough is enough to warrant as many duds as they'd like further on. Well, not really, but it's difficult not to think so at times. Forgive Knapsack for their flaws on their second full-length... for making one of the most unbalanced records ever, for losing their early, abundant energy, and for inevitably causing you to lose your voice the day before your philosophy presentation (uncontrollably singing along to "Thursday Side Of The Street" and scorching your throat, of course). Cut ‘em a break. They haven't quite reached their consistent potential of This Conversation, but they're showcasing some of their best here. Or, you could just listen to the first four songs off of Day Three of My New Life, remember that Knapsack are a genre-defining little group from California, and scream your lungs out to 
"He says, thanks for coming home,
If not for the bar i'd spend my life aloooone,"
Not sure why, I just love that line. Most of them, for that matter.
Eric
sputnikmusic.com

Knapsack is a college band in every sense of the word. The type of band that evokes the sound, smell and feel of those tiny, rocking live music clubs with a stage that's just barely off the ground. The type of band that easily helps you forget your obligations and encourages you to just drink some beer and hang with your buds while you soak up their no frills rock. The type of band that a college radio station without commercial intentions would play in a set with Generation X, The Godfathers, Leaving Trains and early Replacements.

Formed at University of California at Davis in 1993, Knapsack consists of vocalist/guitarist Blair Shehan, drummer Colby Mancasola and bassist Rod Meyer. An unpolished chip off the same rock as early Goo Goo Dolls, Knapsack's sound is simple but gets the job done. Shehan sounds like a Dave Pirner (Soul Asylum)/David Lowery (Cracker) hybrid with raspy touches of Richard Butler (Psychedelic Furs) as he sings his way into a sort of yell-shout that convinces you he's putting everything he has into the delivery.

Day Three of My New Life, the band's sophomore release, was produced by Drive Like Jehu's Mark Trombino. And Knapsack opens with "Thursday Side of the Street", a number propelled by Shehan's vocal surge, power chords, pulsating bass, pounding drums and crashing cymbals. Typical of the offerings here, its hook is the big crescendo at the chorus where Shehan belts his guts out. "Diamond Mine", "Heart Carved Tree" and "Sleeper Than We Thought" stand out here as the few tracks which forego the build-up but retain the energy and drive.

Knapsack's high fueled approach is short and to the point, with all ten tracks clocking in under five minutes. But like a good roller coaster or thrill ride, it will keep you coming back for more.
Joann D. Ball
westnet.com

Knapsack ‎– Silver Sweepstakes (1995)


Knapsack play driving indie rock in the vein of Superchunk. Though the album is good, the lack of tempo changes can grow frustrating.
John Bush
allmusic.com

This is the first release from Davis's late and great knapsack. It's also their only release as a four piece. Knapsack also shared a member with Samiam.

I once read that Knapsack is one of those bands that people think they should listen to but never quite get around to it. Well, if you haven't heard them yet you should listen to them until your ears start to bleed. As you probably can tell they are one of my favorite bands (and this is a really bad review).

Well now I'm on to describing their sound. This is their most gritty of their records. They can go from slow bass driven verses to power chord dripping choruses that stay in your head forever. The choruses, although driving, are not heavy or fast, but still move with the slowness of the verses. This not an annoying drawn out slowness like one found in Mineral; however, it is more of a slowness that just feels right.

Blair's voice is one of the best I have ever heard. He can go from whispering to bone chilling screaming all in one breath. The way he screams is not like the singer from grade or the heart broken backups on thursday; it is more of a melodic grating sound (whoa that's an oxymoron). All in all, these are the saddest songs I have ever heard.

I suggest everyone listen to this. Also check out the jealous sound, Blair's new band.
Jeff
punknews.org