Straylight Run
Straylight Run
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Get the doctors. Hand me the defibulator. It's on the hospital bed. It's being read its last rights. It's finally happening. Emo is dying. And Straylight Run's self-titled debut is forever going to be known as the last great emo album. Mark my words.

I've gone through my share of musical phases. Emo (whatever that really means is debate for another time) just happens to be one of them. Remember when Taking Back Sunday and The Used ruled the music world? Think back. It wasn't that long ago. I was a part of the movement. I liked these bands, among others. I was caught up in these bands angry, emotional lyrics, screamed choruses, and hard-driving music.

Now? I say go to hell. I haven't listened to a typical emo band in at least a year (unless you consider bands like Jimmy Eat World and Death Cab for Cutie emo.)

So I was more than a little shocked to be so captivated by this Straylight Run album. This CD is most definitely emo, although not without its' twists. There's no way around it. So, I hid it when my friends were around. I didn't want them to know I had become a hypocrite and fell in love with a gloriously catchy and at least somewhat original album.

Then I realized something. This album might be emo. But, what the hell is a genre anyway? And the important thing is: it's damn good music. The songwriting is a cut above what this genre usually offers, and the vocals are especially good.

The album starts off perfectly with the ironically-titled "The Perfect Ending." Right away, you know this is not going to be your typical emo record. It's a sparse song, with just John Nolan's superb vocals over a sweet sounding piano line. But, it works, and it really gets you itching to hear more.

"The Tension and the Terror," is the most generic emo song I've ever heard, but it really is great. It's so catchy that it is literally impossible not to like, and I would believe someone if they told me Chris Carraba wrote the chorus; it's right out of a Dashboard Confessional album.

Then we start to hear just how good this band can be. When I first listened to "Existentialism on Prom Night," I didn't know what to think. Was this Ben Folds-esque piano-pop, without the tongue-in-cheek lyrics? They start to show off their great songwriting abilities on this one, which is highlighted by a beautiful melody, and excellent backup vocals by Michelle Nolan. Ms. Nolan does a great job on the backup vocals, occasionally taking over lead; she sounds a bit like Jenny Lewis of Rilo Kiley-fame.

"Another Word for Desperate" is a great tune - if only it had stopped at the 3:45 mark. Instead, they litter it with over the top strings and screaming for an additional 1:30.

Another highlight is the danceable, techno-like "Tool Sheds and Hot-Tubs," featuring lead vocals from Michelle Nolan.

The album does sometimes venture into generic territory, but the hooks are usually catchy enough to keep you interested. This is especially true of some of the middle tracks on the album.

If you listen to just one song on this album, listen to "It's for the Best." It has one of the best melodies I've heard in a long while. Perfect song construction and gorgeous harmonies. It'll give you a glimpse into what will be, hopefully, the last great emo album. Hey, a guy can dream can't he?

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