 Hot Chelle Rae: Whatever
LOS ANGELES (TheWrap.com) - If you were watching the American Music Awards and went "huh?" when Hot Chelle Rae got the award for New Artist of the Year, rest easy, because you probably won't have to bone up on the band too much to stay current on the next set of Grammy winners.
The teen-targeted group proved it's possible to win an AMA on the basis of one flop album, one double-platinum single, and four sets of cute hair, which should come as encouragement to aspiring one-hit wonders everywhere.
Hot Chelle Rae's sophomore album, the not-encouragingly-titled "Whatever," hits stores this week, and it's bound to do far better than their 20,000-selling blip of a debut.
That's thanks to "Tonight Tonight," a radio hit that racked up 2 million paid downloads since being released last spring.
If you recognize the single's "dancing on the edge of the Hollywood sign" refrain, chances are good you have a child in the Radio Disney demographic … though the band members themselves are mostly in their mid-twenties and bordering on long-in-the-tooth for this brand of fluff.
Like most of Hot Chelle Rae's songs would, "Tonight Tonight" required a slight lyrical edit to make it onto that tween radio network. Fortunately for 9-to-14-year-olds itching for forbidden fruit, a purchase of the new CD will allow them to hear the line "I woke up with a strange tattoo" in all its verboten glory.
The 11 songs on the sing-along-filled "Whatever" are every bit as innocuous as they mean to be, notwithstanding throwaway lines about getting drunk or getting in bed with girls. In the context of the obvious target audience, these slightly naughty asides come off as aspirational: This is music for girls still looking forward to their first beer blasts.
Stylistically, think of the Nashville-based quartet as pop-punk stripped of the punk.
Sleekly dull production renders it nearly impossible to distinguish between guitars and electronics at any given moment. In lieu of any interesting arrangements or instrumental breathing room, what's omnipresent are Ryan Foliese's vocals, typically pitched at the very top of his range, arguably just beyond his comfort zone.
If any of these songs are heartfelt and not just confectionary, a sense of feeling didn't survive the gloss and sameiness. That's OK for decent dance-oriented tracks like "Downtown Girl" and "Beautiful Freak," but not so much for balladic stinkers like "The Only One" and "Why Don't You Love Me," the last of which wastes duet partner Demi Lovato.
Lovato's presence serves to remind you how superior her recent album was -- which could also be said of other Radio Disney-friendly artists like Allstar Weekend, near-soundalikes for Hot Chelle Rae who offered far more wit and variety on their recent sophomore CD.
As kidstuff, Hot Chelle Rae is harmless, but "Whatever" will have even parents who normally warm up to the best teen- and tween-oriented pop taking the impassive title completely to heart.
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 Nickelback: Here and Now
Sputnikmusic.com
Summary: If it Ain't broke, don't fix it - a fitting phrase for Nickelback, and works well in a standout work for 2011.
2005 came All the Right Reasons. 2008 came Dark Horse. And, following this three year pattern, in 2011, comes the new effort by Nickelback, "Here and Now".
Just like bands such as AC/DC, known for producing the same product repetitively, Nickelback has recieved large amounts of criticism for their repetition of the same sound, same themes and nearly identical albums. This is a recipe for a large number of haters, but also a recipe for a lot of loyal followers, and a lot of satisfied listeners, glad Nickelback, spearheaded by Chad Kroeger, isn't selling out to stay "savvy" with today's music.
I couldn't agree with these followers any less.
Hearing the new album, I was incredibly satisfied hearing the new, yet typical, Nickelback approach to Here and Now, and was pleased to hear the band has not lost any effort, enthusiasm or touch in what they do best. They march forward relentlessly, not regarding critics, haters or nay-sayers, and produce a rock record that feels like they are slipping on a comfy pair of familiar shoes. Throughout the record, Kroeger's raw vocals chant, sing and roar through each track, valiantly and with an eager sensation, as if he actually is living and experiencing the parties, sexual encounters, and politically/socially aware issues he is singing about. The rest of the members, Daniel Adair, Mike Kroeger and Ryan Peake all solidly assist in this march of sound, and produce 11 tracks that have you ensnared in a fist pumping, beer-drinking and even sometimes emotionally moved piece of music.
Right from the first two tracks ("This Means War", "Bottoms Up") the listener is pulled into the music and encouraged to headbang and party until they experience a non-alcohol induced hangover, with these openers being the typical rock tracks Nickelback open albums with. This in it's own is fantastic, as it provides those diehard fans exactly what they've been drooling with anticipation for.
Nickelback also reintroduce those globally aware pieces (When We Stand Together, the first single), your typical sex-themed songs (Midnight Queen, Gotta Get Me Some, Everything I Wanna Do), the in-your-face-Hollywood attitude (Kiss It Goodbye) and even focus on suicide in standout track "Lullaby". They then end the album in a nostalgic yet effective finale, "Don't Ever Let It End".
Yes, this is a typical Nickelback album, many of the tracks are numbered to match the styles of the last two albums, the same grunge and heavy drumming is present as always, and Kroeger's voice rips the microphone apart as always, but to the people that appreciate the style of the band, this is exactly what they want, and they'll be more than satisfied. It's because of this that Chad Kroeger is a lyrical and musical genius, not focusing on what outside opinion rants about, sneers at him and what negative reviews they publish; Kroeger is only satisfied by sticking true to Nickelback's style and pleasing the fans.. who of course are who Nickelback are doing it for when it comes to the crunch.
This integrity to the fans, the fun tongue-in-cheek of the album and the no-*** rock n roll makes Here and Now a standout record for 2011, and may even win Nickelback some new fans.
BEST TRACKS: "Bottom's Up", "When We Stand Together", "Lullaby", "Kiss It Goodbye"
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 Gym Class Heroes: "The Papercut Chronicles II"
Given the success that frontman Travie McCoy had on his own last year with his pop-reggae smash "Billionaire," Gym Class Heroes might've been expected to pursue a similarly lightweight vibe on "The Papercut Chronicles II," the New York alt-rap combo's first album since 2008's "The Quilt." Yet following a computer-voice intro that links the new record to its 2005 namesake, the first track here is a thudding rap-rock blast called "Martyrial Girl$," in which McCoy yowls, Fred Durst-style, "I never felt so alone in a room full of people!" Indeed, much of the curiously aggressive "Chronicles" sounds designed to notify fair-weather McCoy fans of the MC's roots on the Vans Warped tour. Unfortunately, that's an exercise that seems more satisfying for him than for us. The band fares better in a handful of frothier cuts, including "Life Goes On," with Danish electro-pop singer Oh Land, and lead single "Stereo Hearts," featuring Maroon 5's Adam Levine. In those moments the Heroes remind that before "Billionaire" they had their own top 40 hit with "Cupid's Chokehold."
Gym Class Heroes "The Papercut Chronicles II" Review — 5 out of 5 stars
artistirect.com
"Put this Vader mask on and take me to the dark side," declares Gym Class Heroes singer Travis McCoy during "Kid Nothing and the Never-Ending Naked Nightmare."
Like musical Jedi, McCoy and his cohorts show no fear while confronting darkness on their latest offering, The Papercut Chronicles II, and that's precisely why it's the group's most diverse, daring, and divine effort to date.
The Papercut Chronicles II slices and dices from the jump with the raging riff stomp of "Martyrial Girl$". Airtight fretwork from Disashi Lumumba-Kasongo adds metallic heft to Matt McGinley's roaring rhythms. A soaring solo mounts as McCoy slides into a focused and fiery rhyme deflating hipster egos, while exorcising his own vulnerability. The heavy hook elegantly pummels as McCoy exclaims, "This type of scene just ain't my thing."
Gym Class Heroes don't need anyone else's scene. They're clearly above that.
After that bruising and bloody opening, Oh Land's swooning chorus elevates "Life Goes On" into dream pop territory as a subtle bass bounce from Eric Roberts careens along. Gym Class Heroes have crafted the ultimate anthem with "Stereo Hearts," featuring a funky fresh chorus from Maroon 5's Adam Levine that's anchored by McCoy. Back on the dark side, "Solo Discotheque (Whisky Bitness)" is another dreamy deluge of hooky guitar work and a poignant, powerful refrain from McCoy. Everything blasts off into another realm as soon as Lumumba-Kasongo's massive lead kicks in. "Ass Back Home" bounces along on McGinley's jazzy polyrhythmic percussive palette. Neon Hitch's gorgeous line entwines with McCoy's rapping for a combination like no other.
"Kid Nothing and the Never-Ending Naked Nightmare" remains the record's standout. It's schizophrenic at times, but strangely beautiful as McCoy opens up a whole lot deeper than a papercut. Each player equally shines, and it's emblematic of their collective prowess.
It's Gym Class Heroes' fearlessness that leads them to conquer the dark side and pretty much everything else on The Papercut Chronicles II. Welcome to their best album and one of the year's best as well…
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