first time for me, but this is their 5th album.
punky alt except for that track I included
unlike any of the other tracks and my fav

Grade - 1.7

released Feb 22nd

from the album - On Love, On Life - 2.5

from all music


Bayside formed in the winter of 2000 and developed a quick following with their melodic, moody, guitar-driven emo. They soon left their native Queens, NY, and hit the road, sharing stages across the United States with bands like the Alkaline Trio, Taking Back Sunday, and Further Seems Forever. The band's first release, the Long Stories Short EP, was released by the local Dying Wish Records in August 2001. Touring continued throughout the following year, including festival slots at the Skate and Surf Fest in Asbury, Furnace Fest in Birmingham, and a two-week stint with the Warped Tour.

As with many young bands, various lineup changes occurred throughout these early years, and spring 2003 found original members Anthony Raneri (vocals/guitar) and Andrew Elderbaum (bass) cementing a revised incarnation of the band with newcomers Jim Mitchell (drums) and Jack O'Shea (guitar). That same summer, they released a split EP with Name Taken before signing with Chicago powerhouse Victory Records. Sirens and Condolences, a brooding debut album produced by J. Robbins (Jawbox), was issued in January 2004. Along with a relentless show schedule, the guys utilized community-oriented websites like Friendster and MySpace to promote their music and build up a loyal underground following. Also during this time, bassist Nick Ghanbarian (ex-the Movielife, Silent Majority) and N.Y.C. veteran drummer John "Beatz" Holohan joined Bayside's ranks, replacing Elderbaum and Mitchell.

Going into their next album, Bayside decided to depart from the group of producers whom many of their peers had been using. Consequently, their August 2005 self-titled sophomore album materialized with Shep Goodman and Ken Gioia at the controls; the producers had previously worked on albums by Mandy Moore and Lee Ann Womack. With their album completed, an energized Bayside hit the road with Hawthorne Heights, Silverstein, and Aiden on the Never Sleep Again tour. But on the morning of October 31, their van hit a patch of ice and flipped over on the way to a show in Salt Lake City. Holohan was tragically killed in the accident and Ghanbarian severely injured. Grieving the loss, Bayside canceled several shows before Raneri and O'Shea decided to honor their friends by pressing on as an acoustic duo. The tour wrapped up at Chicago's House of Blues, where the band recorded the performance and released it February 2006. The live DVD and accompanying ten-song Acoustic EP included a new track, "Winter," which was a tribute to Holohan.

After a brief headlining tour, Bayside spent the beginning of 2006 serving as the opening act for the Smoking Popes' reunion tour. With Ghanbarian fully recovered and new drummer Chris Guglielmo on board, the band reprised its relationship with Goodman and Gioia and began working on its next album. The aptly titled The Walking Wounded was issued in early February 2007; it found the guys not explicitly focusing on their earlier tragedy, but instead on survival and moving forward. The punky Shudder followed in 2008, giving Bayside their highest chart placement to date by peaking at number 52. Having fulfilled their contract with Victory, Bayside jumped ship and signed with Wind-Up Records in March 2010, promising a new album by the coming fall. Sessions with producer Gil Norton took slightly longer than expected, with the resulting Killing Time ultimately coming out in early 2011.

Album Review

It would be easy to misconstrue the title of Killing Time as a defeated admission from a tired band whose members were just going through the motions, putting out record after record because that’s what bands are supposed to do. For Bayside, however, that couldn’t be less true. Working with producer Gil Norton, who worked on monumental albums like the Pixies’ Doolittle and Foo Fighters’ The Colour and the Shape, the band has made what might be its most fully realized album to date. The band sounds as fresh and vibrant as ever on tracks like “The New Flesh,” reaffirming for fans that Bayside have held firmly onto their pop sensibility and vigor, and that they can still combine them as well as anyone in the emo/post-hardcore game. This comes through brilliantly on “Mona Lisa,” where the band evokes the polished pop heaviness of early-model Weezer, deftly shifting keys to make the song feel like it’s constantly evolving without losing any of its infectiousness along the way. Given the way Bayside have incorporated all of the lessons learned from their other albums, it almost feels like the album’s title refers to all of the time spent up until this recording, painting a picture of a band that’s been spinning its wheels trying out this and that before really bringing it all together into one polished record. If you're a fan who may have been disappointed after the release of 2008’s Shudder, this is the album you’ve been waiting for.

Track Listing

1 Already Gone Bayside 3:40
2 Sick, Sick, Sick Bayside 3:34
3 Mona Lisa Bayside 3:10
4 It's Not a Bad Little War Bayside 4:13
5 Sinking and Swimming on LongIsland Bayside 3:48
6 Seeing Sound Bayside 3:23
7 The Wrong Way Bayside 3:26
8 On Love, on Life Bayside 3:27
9 The New Flesh Bayside 3:46
10 Killing Time Bayside 3:33