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on 7 June 2011
Got my copy today and I am one hundred percent satisfied.

I have actually bought this album a few times and the reason of me buying it again, is because I have either given others away as gifts or recommendations
or because I misplaced it. But this album and band have a close place to my heart so buying another copy wouldn't be any bother at all.

The album goes in the more commercial direction than previous works, but only out of maturity of their sound and changes of writing and personalities (for the better).

This album has a lot more heavier low end to it than their other albums and stays at a relatively constant up tempo feel.
Adam's (Lazzara, Lead Vocalist/Front-man) lyrics flow in the same vein as all his other lyrics which leave the listener with plenty to think about, as most of it has double meanings and metaphors.

In classic TBS style they've once again managed to keep the original duel vocal approach to their music, which is familiar to their fans as being one of their key signature sounds which they of course made prominent within the current music scene.

The band are on top form and have definitely progressed to a higher and different form, not too different though and prove to show they they are still the great band they started out as.

This album is a top number and full marks goes all round.
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on 20 January 2017
Great music. Support the artist by buying their CDs. Do not download Illegally.
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on 28 August 2015
very good
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on 26 August 2011
Actually for my daughter, who has been more than happy with this TBS Cd. I can't recall exactly how she described it, but to para-phrase it was just the ticket.
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on 5 March 2015
All good.
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on 15 July 2013
Taking Back Sunday have released three great albums, all in a row, and this is the third and finest of the lot. They started off with 2002's Tell All Your Friends, which is a brilliant, though often overrated, debut. The energy was electric, and that alone helped them to overcome any of the weaknesses common to most young bands, and for this they quickly established a keen cult fan base willing to overlook the repetitive nature of the songs themselves. In 2004, they followed that album with the utterly fantastic Where You Want To Be, which despite receiving a lot of unfair criticism from fans expecting a TAYF's Pt. II, this was a tighter collection of songs and a massive step up from what had come before. I love it, its an emo album every bit as good as The Juliana Theory's Understand This Is A Dream, and much, much better to my ears than either of Brand New's first two albums, which stirred up much media, and fan related competition.

Louder Now, however, completely changed the band. Whereas before the music was sprawling, melodic yet raw, this 2006 release was tight, polished and full to the brim with pop anthems. Like Jimmy Eat World did with Bleed American, and the lesser known but near equally brilliant Juliana Theory did with there sophomore effort Emotion Is Dead, Taking Back Sunday released an album with an almost new sound, and unexpectedly pulled it off. When this was released, magazines such as Kerrang! and Rocksound couldn't contain the excitement: everyone expected a decent record, nobody expected this pop masterpiece. Come the end of year polls, this topped many prestigious rock lists. And 2006 was a phenomenal year for rock, with key releases from the likes of Mastodon, Lacuna Coil, My Chemical Romance and Panic! At The Disco, along with many others, all helping keep the flame of music alive in world growing tired of the cliche ridden nu-metal and post-grunge that had been dominating the rock charts for over a decade.

So, despite stiff competition, in 2006, nobody released a better commercial pop rock album than Taking Back Sunday. Infectious melodies woven into harder, edgier songs resulted in classics such as lead single Makedamnsure, Error:Operator, Spin and the sublime Twenty Twenty Surgery. How none of these songs achieved the same level of success as did efforts by Losprophets or My Chemical Romance, I will never know. For a lot of music fans, this album was as essential as any of the bands previous albums, and was the first (and last) album they recorded that came close to bettering any of Jimmy Eat World's post-Clarity output. Although modern and fresh, it had the feel of older emo classics, helping steer the genre away from a lot of the gothic imagery being infused into the genre by such acts as the woefully bad Aiden, or the rather fantastic, though impossible to pigeonhole, My Chemical Romance. They did this too without ever once resorting to using strong language or questionable subject matter. This music may have been alive, but it was also unbelievably upbeat, and all the better for it!

The production is flawless, everything is crisp and on Divine Intervention, you can hear the background noise of traffic in the distance. It adds an organic feel to the song, and as such it helps make one of the albums slower songs every bit as exciting as the harder edged tracks.

But perhaps the albums finest moments come in the form of energetic opener What's It Feel Like To Be A Ghost? and the epic closing number I'll Let You Live. ...Ghost is a storming, over the top pop anthem, and as such it gets Louder Now off to the perfect start. Think of JEW's Salt Sweat Sugar, or AFI's Miss Murder, then add a dollop of sugar and there you have it. It could have been a massive hit if only it was the lead single.

Closer I'll Let You Live is a wonderful song. I can think of no comparison to make, and I have no words to describe it. It simply is one of the best songs they have ever written.

I really cannot praise this album highly enough. Its a wonderful, dancey, poppy, catchy set of anthems that beg for the listener to get up and dance! As such, it is a key rock album of the last 13 years, and as suggested by the media on several occasions, it is the essential Taking Back Sunday release.

Unfortunately, follow up release New Again sounded tired and worn, and almost undid all the good done by the bands first three albums. As for 2011's self titled release, it is hardly worth the purchase. It now seems unlikely that Taking Back Sunday will ever get back on track, which is a real shame. But Louder Now is one album I think any modern rock fan should have, alongside such massive releases such as Bleed American by Jimmy Eat World, Sing The Sorrow by AFI, A Beautiful Lie by 30 Seconds To Mars, or Emotion Is Dead by The Juliana Theory.

It would be a shame to miss out on all the fun, so buy this album ASAP, if you haven't already!

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on 4 September 2008
Although I have long outgrown this band and my interest in this type of music, I still find Louder Now one of those albums that I unwillingly return to time after time, one fo the few albums that still give me the buzz when I listen to it, one of those that I can truly lose myself in. Emo may be under a lot of hate and negative critiscism, but theres something about it, a certain magic to it that I've failed to find in any other style of music. TBS aren't the greatest band in the world - nowhere close, yet this is an undeniably good album that I will continue to listen to in years to come. Stand out tracks include Liar and Make Damn Sure, so have a listen to these two before buying the album.
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on 21 April 2006
Louder Now" reveals an extraordinary production, thanks to Eric Valentine (Queens Of The Stone Age, Third Eye Blind) and the songs follow-suit. Soaring, infectious hooks and chorusing thanks to the expected dual-vocal attack from Adam Lazzara and Fred Mascherino. Lazzara's range is noticeably improved on "Louder Now," often skipping up an octave or two above the darker, lower, and even more abrasive sound from Mascherino. The combination of Lazzara's smooth crooning and Mascherino's more coarse makes for a pleasing texture, and the hooks and choruses on this record are perhaps the catchiest they've ever been.

But you already knew all of that, right? I mean, after all, we all know what Taking Back Sunday sound like. So let's get down to the basics: how does the album compare? Or more simply, is this Taking Back Sunday's best album?

Questions like these are hard to answer-especially when you've spent months plainly living life to their debut, "Tell All Your Friends," and even more so when the debut was undoubtedly one of the first breakthrough albums in the genre. And when the clasping chorusing on "Where You Want To Be" has invaded your car stereo for many months on end as well, it's hard to simply cast it aside as a "lesser" or "less-great" album.

And, at its best moments, "Louder Now" reveals songwriting and a quality sound that is, truly, better than it has ever been. By "better," I mean more complex, more thought-out, more energetic, and with more textures than ever before. One can't deny that "Spin" is easily the most blasting, lively, in-your-face pop/hardcore fusion jam that has ever been written by the band, with it's deeply infectious "ARE YOU COMING HOME!!!" and vocal battling between Lazzara and Mascherino. The sound on this record is huge, with incredibly full, exploding guitars, seamless vocals; it's got an all-around radio-ready production.

From the moment the record starts, the band doesn't screw around: "What It Feels Like To Be A Ghost" boasts an expected dual-vocal skirmish, and is as infectious and catchy as ever. Though the single, "Better Make Damn Sure" tends to be almost a little too sugar-coated, by the time "Up Against (Blackout)" hits the airwaves one finds themselves singing, screaming, yelping, and shouting along with the band-it's undisputably one of the most contagious pop-jams I've ever heard, ever.

And while the sound and many of the songs are truly superb--even extraordinary--for the band, some of the songs were, honestly, a bit disappointing. "My Blue Heaven," for example, drags on with repetitive, predictable hooks and a sort of dry energy, and the acoustic ballad, "Divine Intervention" is comprised of slow, drab technique. Both songs have a sort of tacky feel to them-whether it's the string symphony on the bridge of "My Blue Heaven" or the bells ringing on "Divine Intervention," it's all a little trite.

Still, "Miami," in the face of a rather simple chorus (the repeating of the word "Miami" on end about 20 times) swanks a rather somber feel: "whoever I was then, I can't ever be again," Lazzara shines. The guitars on this track especially reveal a new sound for the band, reminiscent of bands like The Exit, with up tempo, off-beat guitar stroking. And though the revision of the hugely popular "Error Operator" isn't hugely improved, it's still a splendid song that perhaps defines the angst-ridden, aggressive nature Taking Back Sunday has turned for.

So while Taking Back Sunday haven't reinvented themselves by any means, the superlative production efforts and song-writing on "Louder Now" are as accessible as ever, and while there are certainly some total misses on this record, when Taking Back Sunday are on they hit it as tight and commanding as ever.
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on 24 April 2006
Long Island kings of Emo Taking back sunday have become a staple in any emo fans collection. I own this bands other two releases and if you do too then there is no good reason not to buy this! Bieng their third release i had high hopes that the band would try something different, yet retain the pace and edge thier music seemed to lose a little last time round. I'm finding this to be the best album they have made, the tunes here are varied and move between acousitcal, emo and rock seemlessly. Theres even a solo here, something modern music seems to have shunned under Nu Metal and suchlike. Go buy it and enjoy, fans wont be dissapointed and you'll soon be jumping around to a record the band hav obviously enjoyed making.
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on 25 April 2006
Taking Back Sunday have grown up.

When I saw them at the start of the year on their brief mini tour of the UK, we were treated to a few tracks off this new album. Even then, we could tell we were in for something special. And we haven't been disappointed.

From the crunching opener of What It Feels Like To Be A Ghost to the distorted closure of I'll Let You Live, every track is a gem. Adam Lazzarra's lyrics are poignant, some will dismiss them as still being emo, but they've come a long way from the (somewhat humorous) "And with my one last gasping breath, I'd apologise for bleeding on your shirt". No, Lazzarra owns this album, full of his sneering, his confidence, and his heartbreaking honesty, he rules this album from the get-go.

Not that the rest of the band don't deserve praise. Fred Mascherino's dualling lyrics are still there for all to hear and has also improved his playing. The whole band feels tighter than ever, and it shows on this album.

Not one to be missed, Louder Now is by far the best album I've heard so far this year. Hopefully, their time has come.
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