Anberlin
Cities
Tooth And Nail/Stomp



When a genre becomes as pervasive (and as, somewhat unfairly, targeted) as emo has in the last couple of years, the word genre quickly gives way to the word generic. And, while being an unashamedly outspoken emo fan, I can recognise that there are a lot of generic bands out there. I can also recognise that generic doesn't always mean bad. American upstarts Anberlin confirmed that with their last record, 'Never Take Friendship Personal', and the blistering live show that followed it, both of which were significant slices of hook-heavy fun.

There's still nothing new happening on 'Cities', but, again, there's also nothing bad. In fact, opener Godspeed presents a much-improved and technically-proficient rock outfit; from the frenetic percussion of the verse to the soaring gang vocals of the bridge to the power punch of the chorus, Anberlin are completely on top of their game.

In many ways, this is a marked improvement on 'Friendship'; the sound is more assured, the songs more cohesive. The Unwinding Cable Car is a refreshingly graceful acoustic ballad; Adelaide (about our fair city, no less) is almost like one constant, three-minute-long hook. Vocalist Stephen Christian's voice has matured away from the potentially irritating wail it could have become and guitarist Joseph Milligan's increased dabbling with keyboards never goes astray.

Unfortunately, this increased confidence has an adverse effect as the album progresses, as hooks give way to an unflattering seriousness and staunch melodramatics. Synth can't save Reclusion from boredom, while the heavy-handed Inevitable is almost unbearably corny. Hooks and seriousness can coalesce, however, and the breathtaking Dismantle.Repair is tantamount to that fact. But, by not sticking to their strengths (ie. being incredibly catchy) 'Cities' only serves to remind me that, while pretty good, at the end of the day Anberlin are still generic.

Matt Vesely