Review of June of 44 : Four Great Points
Poetic doesn't just describe the lyrics of June of 44 or their phrasings, but also the beautiful noise that they repeatedly make with each successive CD. Four Great Points might be the band's most accessible recording to date, but shows the band has lost none of its adventurous nature. Building upon the jangly, disjointed equations of math rock, June of 44 have infused tracks like "Doomsday" and "Lifted Bells" with a more fluid rhythmic quality. "Of Information & Disbelief" is closer to the band's original dynamics, with its bursts of noise tamed by an atmospheric violin. While intimidating at first listen, June of 44's brilliance is in their ability to raise the listener to their level, sacrificing none of their integrity, or intent, in the process. --Steve Gdula

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Your latest reviews - June of 44 : Yeah. Yeah. Yeah.
I'm not a big fan of music reviews per se, but seeing how none of the other reviews seem to do this album justice, I've decided to dip my little dinghy in the proverbial music critic waters.

First of all, don't mistake this album for emo. It's better than most emo. Most Emo puts me to sleep. Its chord progressions are generally too predictable and its vocalists all try too hard to sound so damn "passionate par excellence." Facile? Yes.

Secondly, this isn't an album for all you guitar techs out there who attend Super Musician University and fiddle-de-diddle on your Charvels in the Dorian mode. Nope. You're ears are just too sensitive for June Of '44. The dissonance is sure to make your pitch-perfect, virtuoso ears cringe. Plus, this album lacks the stately pomp and grandeur you're looking for in a rock outfit. Stick to A Perfect Circle. They're always a safe bet.

This album is scary...you won't find any members of June strutting around local coffee houses decked out in mascara and penning bad angst poetry. This album is scary in the way that everything comes undone eventually. This is the music right before the end. The sidelong glance at the switchblade before its metal glint blinds the victim.

With most "heavy albums" you get this kinda' mishy-mashy emotional hodge-podge of aural impressionism. This kinda' indirect scribbling of schoolyard gestures and the all-too-famous lyrical investigation of the subject. However, most "heavy albums" lack objective drama. Unlike folk and country, they never seem to tell stories. This "heavy album" tells stories as opposed to betraying subjective mysteries. Stories of ships sinking, houses burning, and souls losing.

This album may just change the way you look at music if you give it a chance. Why not give it a chance?

--Seth