Yellowcard Albums (4)
What The Critics Say
Yellowcard is neither the flashiest nor the most popular among the new millennium's pop-punk bands but their fifth album Paper Walls goes a long way in proving that they are among the best of their breed. Despite violinist Sean Mackin, whose very presence can seem like a clever ploy (even as the instrument fades in prominence over the years), they're not attention-mongers -- their pop is melodic but not incessantly hooky, they rock hard but not furiously. Without ever seeming laid-back, they seem casual in how they approach their music, never drawing attention to themselves, which is a bit odd because on pure musical terms they're more gripping than many of their peers, displaying a restless sense of musicality that often makes Paper Walls interesting even if means they can stray toward areas that are just a shade too indulgent for their own good. Often, those areas are quicksand pits of sentimentality, whether its drippy anthemic love songs and odes to grandparents ("Dear Bobbie"), sweeping gestures that come off as hammy due to the overdose of emotion but that same tendency to dive after a big moment pays off on the harder rockers where it gives the music true momentum. There's not just a purpose in their backbeat but they dance around the clichés of their genre, either by jacking up the overall energy quotient or suddenly exploding into metallic guitar solos -- like the breakneck breakdown on the opening "The Takedown" -- or strenuously writing melodies that strive for grandness, something that's evident even when they don't achieve their goal. Yellowcard works hard within the confines of their genre but they never rewrite rules: they push the boundaries a little bit further, just enough to separate themselves from their peers, but not quite enough to rope in listeners less dedicated to the super-slick sound of modern punk, especially because they lack one undeniable song to rope in the unconverted. Nevertheless, as a whole, it's hard not to listen to Paper Walls and be impressed by Yellowcard's vigorous musicality which does display more imagination than many of their peers even if the finished songs could stand hooks that dug slightly deeper. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Where We Stand reappears in 2004 via Takeover as a reissue of Yellowcard's 1999 sophomore effort, in the wake of the Florida combo's major-label debut, Ocean Avenue. The sound here is a respectable sketch of what would come; while vocalist Ryan Key had yet to join up, original frontman Ben Dobson doesn't really sound that much different, and his harmonies with Todd Clary are pretty impressive. There's a heavy Offspring influence here, along with some Green Day and 311; the latter group's influence can be heard most on tracks like "Lesson Learned" and "Time Will Tell," where Sean Wellman's violin adds a dynamic instrumental layer to the usual pop-punk power chords and rapid rhythmic pace. "Kids" is another highlight, with its cross of hardcore aggression and cool heavy metal changes, while "Sorry Try Again" keeps thrash in the picture. Fidelity is a bit of an issue here, especially if fans are comparing it to Ocean Avenue, which was mixed top-shelf style by Tom Lord-Alge. But Where We Stand is still an interesting look at Yellowcard's formative past for listeners made curious by the Capitol release. ~ Johnny Loftus, All Music Guide
What The Critics Say
Yellowcard makes its major-label debut with Ocean Avenue. This SoCal punk-pop fivesome slightly softens the edges found on its previous two albums in what is an attempt to win over the TRL crowd. Regardless of the reasons why, Yellowcard works with that familiar formula of spastic, crunchy guitar licks, emo-inspired lyrics, and vocals tailored for that tinny, whiny effect. Some say it's been done before, and by 2003 it surely had, but Yellowcard seems to not give a care about it because Ocean Avenue delivers despite of its catchy recipe. The 13-song set switches in mood and tempo for a layered, dynamic sound, and vocalist Ryan Key could very well chasten Dashboard Confessional's Christopher Carrabba about keeping things short and simple. Songs like "Way Away" and "Empty Apartment" thrive on the basics of rock & roll -- foliated guitars weaved in between high-speed percussion. But that's not all. Yellowcard has a secret component when it comes to crafting its own punk-inspired presentation. Violinist Sean Mackin is impressively skilled, and his talent allows Yellowcard to have a bit of an advantage in making something sound original and fresh. "Believe" and the acoustic guitars of "One Year, Six Months" are proof of that. Ocean Avenue isn't exactly outstanding in the sense that this band has done something outrageously different, but it is a worthy collection of songs with a real heart; that alone shows that Yellowcard is on to something solid. ~ MacKenzie Wilson, All Music Guide
What The Critics Say
Yellowcard's One for the Kids is a power punk album full of hooks and catchy choruses as strong as any of the syrupy sweet punk bands around southern California, except that Yellowcard is from Florida. Nevertheless, Yellowcard's take on punk is a bit different (but isn't that what punk is all about anyway?), as one of the major instruments incorporated on the album is the electric violin. It truly adds a whole new dynamic to the album, as it seems more like the Dave Matthews Band at some points rather than Lagwagon or New Found Glory. The guitar playing is furious and full of stops and starts, very reminiscent of early Slick Shoes material. And if all this weren't enough, there are a couple of acoustic tracks to boot. This all makes for a pleasant shot of diversity for the punk-pop style (if it can even be called that, considering the range of sound on the album) that seems to become more and more diluted of its power as the years go on. ~ Kurt Morris, All Music Guide
