The Story Changes - Last Night a Rock Band Saved My Life (Cover Artwork)
Staff Review

The Story Changes

Last Night a Rock Band Saved My Life (2005)

Future Destination

The Story isn't changing at all, no, it's actually reading the exact same way.

Last Night a Rock Band Saved My Life is a mediocre effort that puts the Story Changes firmly into the category of forgettable. This brand of pop-punk/rock that's becoming so damn popular is really wearing on my last nerve, but the Story Changes manage to keep themselves from breaking that nerve, by way of some run-of-the-mill albeit catchy pop songs.

With a tight rhythm section and the sugary sweet vocals of Mark McMillon, the band plods through eleven songs in a fairly standard 40 minutes. The songs all hover around the three-and-a-half-minute mark, enough time to allow for the typical verse-chorus-verse structure, not that I was expecting a wealth of diversity with a band like this anyhow, but they've got their moments. But before all that, I have a bone to pick with the band. Listen to the first ten seconds of "Kill the Radio," then the first ten of the Mad Caddies "Wet Dog," and what will you find?

Identical song openings.

The Story Changes do things a bit faster, but it's the exact same rhythm and the exact same chords. Mad Caddies use a bass, these guys a guitar, other than that, completely identical. But if you're willing to forgive for that, and I am, I'm in a good mood, than feel free to listen on. "Apologies from the Swing State," "Buried in Me," and "These Dreams Collide" have some compelling harmonies, assuming you don't delve too far into the lyrical matter. The latter's actually got some pretty strong guitar work, both in volume and rhythm, providing for a surefire sing-along, again, providing the lyrics are your bag. Typical, boring, failed relationship fare, but if nothing else it fits the style of music. The Story Changes pace themselves well, and keep those solid, foot-tapping rhythms abound, until the acoustic "Crash and Burn" destroys all previous momentum. Next time, I'll pass on the sappy, token acoustic track. The closing track isn't really one to redeem the band any; it simply doesn't have the bouncy, catchy quality that the rest of the album did.

If you listen to Cartel or Anberlin, I see no reason why you wouldn't enjoy this light-hearted pop-rock affair; it's good for a few spins. Their problem is longevity; if Anberlin's album is a bridge, the Story Changes are only a pier.