Send "There For Tomorrow " Ringtones to your Cell 
| Rocksound |
 It’s a total downer if bands change or simplify their sound to reach a bigger audience, but Orlando rockers There For Tomorrow have always unapologetically leant towards a more mainstream sound. So, on their third album, it’s almost as though they started with vocalist Maika Maile’s pop melodies and then layered their modern rock roots over the top, and the result is infectiously catchy. On the negative, pop sensibilities like these make some of the rhymes in the lyrics a bit predictable, but as they also result in choruses like those on ‘The Joyride’ and ‘Circle Of Lies’, it’s forgivable...full text |
| Digitalhippos |
| I can't stand guilty pleasure bands! Based on their image and overall sound it's obvious who There For Tomorrow's target audience is, but I can't stop myself from liking what I like. When somebody like me manifests their music appreciation throughout a heavier minority of music, it is difficult to drop the idea of commercial tunes being created for the purpose of appealing to a majority which rarely step away from their comfort zone. In this instance I will be the bigger man and step away from my comfort zone to say that this band have won me over with their upcoming release, The Verge. My foot has been tapping excessively while listening to the album and contemplating how I am going to go about sizing up its 44 minutes of well produced accessibility. The entire effort is heavily layered with an incredible balance of emotive vocals, an addictive gain on electric harmonies, flow built through rhythmic bass work and a foundation of percussion which forces fingers to mimic on table tops. Perhaps the greatest aspect of The Verge is that throughout it's easily listenable contents; the album has the (most likely predicted) ability to appeal to the kinds of young souls who think making out with somebody at a party is a universally cataclysmic event, yet the album also has the ability to win over avid fans of well made music. You know, the kind of people who DON'T scream their young tits off at a concert because they are trying to out-scream the girl next to them in a hope to show the band that their obsession for a particular member is more concrete. I believe there is something here for those souls....full text |
| Sputnikmusic |
| As a fastidious note-jotter during initial listening sessions of an album, yours truly will often have enough words scrawled on a piece of paper to write three times the length of that of a normal review. Whether the remarks are general, specific, positive or negative, ideas usually flow to the point that even something relevant will often have to miss out - for readability purposes - come the final product. So when a cursory glance reveals an abundance of empty white space on the notes to There For Tomorrow’s third LP ‘The Verge’, the first word that comes to mind is “indifference”. And yet, ‘The Verge’ is by no means a bad album and continues to see the quartet from Orlando take promising baby steps of progression in the quest to realize their potential. One thing for certain concerning ‘The Verge’ is that There For Tomorrow have shed the musical styles of their infancy. The grungy guitar-driven sound of their debut LP is well and truly in their past, while the pop-punk leanings of their well-received early EPs only fleetingly appear (most notably on the album’s hookiest cut ‘18’). Continuing on from the divisive ‘A Little Faster’, the band maintain their penchant for a radio-friendly middle ground between alt-rock and pop-rock. However, this time, the path taken in achieving such a sound differs due to the surprisingly sparse production of Michael “Elvis” Baskette (Alter Bridge, Chevelle, Story of the Year). Purists will be glad that ‘The Verge’ is far from a generic exercise in distorted feedback, since the instrumentation is well-defined throughout. This allows Christian Climer’s soaring guitars and Chris Kamrada’s booming drums a sense of real space, while the greatest beneficiary is Jay Enriquez’s prominent bass-lines which give tracks like lead single ‘Hunt Hunt Hunt’ and ‘Saave’ an almost funky feel. While the change in approach appears to have suited the quartet’s musicians, it has subsequently placed more emphasis on the band’s song-writing and vocals. Here is where ‘The Verge’ will also prove divisive, with those aforementioned baby steps of progression unlikely to appease the impatient. With clichés becoming scarcer, there is clearly lyrical growth evident, yet one could hardly call them ground-breaking or especially relatable. Meanwhile, Maika Maile continues to gain confidence with each passing release, being more assured in all vocal ranges, especially when reaching for a high note. Unfortunately, the concern remains that the lack of grunt in his voice continues to let down those tracks which require a rougher edge. One tune which definitely does not require such a trait is the oddly-paced piano ballad ‘Blu’, a potential career-changer for Maile that highlights his tender side. It is a shame then that the song descends into cheesy AOR during passages, especially when it comes to the dated guitar-work....full text |
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