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The emo godfather's sixth album proves he's also gotten better in that span.
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The band's sixth studio album, Alter the Ending, is a perfectly blended concoction of acoustic melodies, graceful harmonies and powerful anthems wrapped around the story of a man trying desperately to save a failing relationship.
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Produced by power-pop whiz Butch Walker and Fountains of Wayne's Adam Schlesinger, Alter the Ending contains no shortage of high-gloss thrills.
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Entertainment WeeklyAt it's best, Alter The Ending becomes a record about misery that's actually fun to listen to. For purists who object to such mixed messaging, there's always the deluxe edition's all-acoustic bonus disc. [13 Nov 2009, p.97]
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Returning fans may take comfort in these cathartic anthems, but those who were won over by "Poison Trees"--a return-to-form effort that combined melody with more nuanced arrangements--will prefer the deluxe edition's acoustic disc.
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Alternative PressFrontman Chris Carrabba then shifts into the "Mature Artist" EP, showcasing critic-approved influences like U2 and the Cure ("Blame It On The Changes"), but goes too far with the acoustic mewl of "Even Now" (which is so personal, it's awkward) and "The Motions," a failed experiment in '80s pop. [Jan 2010, p. 92]
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Alter The Ending nose-dives into the studio of Butch Walker, the man behind Pink’s "Funhouse" and Weezer’s "Raditude," and he comically overproduces the damn thing.
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The leaden pillow talk of Alter the Ending deigns to simulate a whispered avowal of wounded love delivered straight to your ears, but Carrabba's lyrics suggest someone who needs you, not someone who loves you.
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Alter the Ending will probably satisfy the California rocker demographic that keeps groups like Phantom Planet, Switchfoot, and Yellowcard afloat. But to outsiders, its a transparent affair reeking of bloated budget and generic goals.