Customer Reviews

Eat, Sleep, Repeat

5 star:		(14)
4 star:		(6)
3 star:		(2)
2 star:		(2)
1 star:		(0)

 

 

They day this CD came out I was totally excited and went to pick it up right away. The first time I Listened to it I was really disappointed because for some odd reason I wasn't in to it at all. I felt as if it wasn't as good as their other CD's.

The next day (Yesterday) I decided to give it another try and see if I would feel any different about it. I put the CD in and gave it another chance only to find that I would fall in love with it! I have now been listening to it non stop and I sort of feel bad about thinking that it was a horrible CD. I've got to tell you that this is one of the best CD's I have listened to all year.

This album shows a bit of a darker side of Copeland. It's a deep record and it takes time to get use to. All I can say now is wow. The lyrics are fantastic, the music is wonderfully written and this is something that I will be listening to for some time now. I am also a musician and I know for a fact that I will see some influence from this album in my writings to come.

Kevin Guinn

There are a few album releases every year that I anticipate with all the anxious excitement of a child going to bed on Christmas Eve. Copeland's newest effort, Eat, Sleep, Repeat, is one such album. Over the four years since the band released their first full length, Beneath Medicine Tree, they've generated a huge following, playing hundreds of shows with the likes of Lovedrug, Switchfoot, and Mae. In addition, they just signed a major label deal with Columbia Records.

With the opening chimes of "Where's My Head," with its ominous atmosphere, skillfully manipulated drums and bizarre lyrics, it's easy to tell that Eat, Sleep, Repeat is a release that will take the band in a new direction. The title track brings a return to singer Aaron Marsh's signature lyricism, beautiful vocals and soaring guitars. The lead single "Control Freak" leans more toward the band's pop roots, relying on shiny hooks and lyrics that deal with both insomnia and crises of belief. Quirky bass lines and Radiohead-like riffs dominate the powerful "Careful Now," which has already become a fan favorite at their live show.

On first listen, ESR uses a strikingly minimal approach to instrumentation, at times more successfully than at others; sometimes failing (such as the lonely "I'm Safer On An Airplane") and at other times showing the band's maturity (on the lovely "Cover What You Can"). Indie up-and-comer Anna Becker lends her vocals to several tracks, particularly shining on the beautiful narrative of "The Last Time He Saw Dorie," a track that slowly spills through your earphones in lush piano lines and quiet strings.

During a year where several bands turned a shade darker, Copeland's newest will turn off some old fans with the glaring lack of pop hooks which were most prominent on In Motion. The optimism that was found on Beneath Medicine Tree is lacking here, but Copeland's future is bright. Aaron Marsh's vocals remain some of the best in the industry--that alone will pull many fans old and new over the wall and into this talented foursome's camp.

This album took me a couple listens before I became hooked. Unlike In Motion which is pretty upbeat, Eat Sleep Repeat is definitely a huge turn-around for Copeland. It reminds me of Beneath Medicine Tree but it's much more polished and experimental. Eat, Sleep, Repeat has a very msytical, moodier sound than anything Copeland has recorded previously. I absolutely love this cd. At first I was skeptical and then I heard Love Affair and Safer On An Airplane and everything seemed to come together for me. The Last Time He Saw Dorie is gorgeous as well. The lyrics on this album are so well written. They're so jam-packed with emotion, love, and desperation it's beautiful and poetic as ever. I love this band ... they have yet to disappoint me. I'm really glad they chose to experiment as they have because it showcases how much talent they've really got.

The album starts off with a track that resembles more of a Radiohead sound and quickly unfolds into an array of emotions. I feel that "Where's My Head?" is the most unique track on that album. Aaron Marsh even seems to be confused with the world during the first track, but everything changes after that. The rest of the album is an emotional rollercoaster of deep thoughts, warnings, and desires put into song. I wish I could tell you my favorite song on the album, but I feel that it changes with every listen. As a drummer, I notice every drum pattern on anything I listen to. I greatly appreciated the lack of boring monotonous drumming on this album. Each track has it's own feel thanks to the quality of music in every song. Lyrically, Marsh has a good way of writing about love without writing the cliche love song. Eat, Sleep, Repeat is a genuine album that is enjoyable with every listen.

My first listen through this cd surprised me and it was hard to gauge how I really felt about it simply because I was a bit shocked by Copeland's turn to the more meloncholy, brooding side of things, both lyrically and musically. This album is, as the cover art would suggest, darker and with an almost avant guarde quality compared to their previous works, but that isn't neccasarily a bad thing. The music is haunting and almost etherial, the lyrics deal with (lost) love, frustration, fear, and regret, which are tired themes at this point, but it's forgivable when you sense the sincerity on this record. Though this is quite possibly Copeland's most experimental "artsy" collection of songs to date, it is also the one, I think, that will put them on the map, and bring them some of the recognition they've been waiting for since "Beneath Medicine Tree" was released almost four years ago. If you liked the floaty quality on songs like "kite" from In Motion or the vocals Aaron lent to Underoath for "Some will Seek Forgiveness, Others Escape", then this is an album for your must listen list. If you have enjoyed anything Copeland has offered in the past, this is well worth checking out. And rreally, if you are a fan of any kind of emotional indie rock, then you most likely won't be dissapointed. While this isn't an album for everyone, it has it's audience, and is worth a look.

Copeland has been getting consistent attention from my earphones since they released In Motion. When I found out they were cutting a new record I was both excited and worried. Now that it's out, I'm happy to say that Copeland is determined not to let their creativity coast. "Eat, Sleep, Repeat", despite its mundane title, feels like it's brand spanking new. That's not to say that the band has abandoned their roots. Copeland is using the same tools they've been using since they first appeared on the scene: Aaron's formidable-yet-seemingly-effortless vocal range, multilayered lyrics, and the band's seemingly impossible ablility to switch from rock to jazz to dream-pop and back again within the same song are all used with confidence. The tools are all the same, but Copeland has gone from building bird houses to tree forts. The result is fresh, yet familiar.

I've never attempted a track-by-track review but since I got this one early (connections with radio stations are awesome) I've had plenty of time to chew on it.

"Where's My Head?" - An overtly experimental opening track serves as a warning not to expect the same old thing. In that sense it works, though musically it feels like a dog whose leash is too short. If you don't like it, don't worry, just keep listening.

"Eat, Sleep, Repeat" - Typical Copeland: a mellow emo song with a gut-busting bass line and surprise stringed accompaniment. It's familiar, but the band's musical evolution is apparent almost immediately.

"Control Freak" - This album's single, and the first "rocker" on the album. While not quite as catchy as In Motion's "Pin Your Wings" was, makes up for it with Aaron's unexpectedly bizarre lyrics and a playful lead guitar.

"Careful Now" - Another rocker, sporting some haunting guitar riffs. It's one of the more organic-sounding songs on the album.

"Love Affair" - A slow but melodic song that sucker punches you with a really jazzy breakdown, complete with trumpets. It works, even though it sounds like it shouldn't.

"I'm Safer on an Airplane" - Another slow, experimental track, but it works better than "Where's My Head" with much meatier lyrics to chew on.

"By My Side" - Another rocker, well placed to keep the pace up. Probably one of my favorite tracks on the record with its infectious chorus.

"Cover What You Can" - A dreamy, mellow song... to me this one felt disposable, though it works within the pacing of the album.

"The Last Time He Saw Dorie" - Another dreamy, ethereal song, but this one works much better, featuring an angelic guest vocalist and haunting-yet-inspiring lyrics.

"I'm a Sucker for a Kind Word" - The last, and I think greatest rocker on the album. The band throws every trick they've got and the kitchen sink into this one, and it works: crunchy guitar riffs, screaming strings and aggressive drums, and whatever else they can find to cram in there. Easily the crown jewel of the album, and possibly the band's entire body of work. The album is worth owning for this track alone.

"When You Thought You'd Never Stand Out" - A relaxing closer with a modest but catchy piano and playful strings. A very, very beautiful track that, like "Love Affair", will pleasantly surprise you if you were expecting straight-forward emo/indie rock.

All-in-all an excellent record. It's not perfect - the band takes some risks musically and not all of them pay off, but the lemons are worth it for the freshness of an already good band that's not content to simply rehash past successes. If you liked Copeland's past offerings, you probably already bought this, and rightly so. If you just want some rock to listen to, you may be dissapointed by the small quantity of high-energy songs here. But if you're patient enough to give the slower tracks some thought, you'll find yourself listening to a very well-paced, mature album with only a few misfires.

I was surprised by the new album, must like other fans, but my surprise was not jaded by disappointment and expectations. My only expectation was that Copeland's music would continue to grow and break new ground, and they've certainly done that well.

This is by far my favorite album so far. I know that most of their fans prefer their first full length album, and I have a few long-time favorite tunes from that cd as well, but Eat, Sleep, Repeat shows a maturity of soul and sound that most modern musicians never reach.

The emotions in this music are genuine and heartfelt. You couldn't get this same level of emotion from the first album. Sure, there was a lot of raw emotion there, but this is the sound of a band that has lived life.

Whether you're a longtime fan or a newcomer, I suggest you approach this album with a blank mind. Put aside your old favorites and let Copeland take you on a journey into yourself, because this album will challenge you.

When I first heard Copeland a couple of years ago, they sounded like an okay cross between a guitar-pop group like The Gin Blossoms and the low key acoustic emo of Coldplay. Fortunately, their sound has matured. Their new album Eat, Sleep, Repeat is replete with confident songwriting ability and Aaron Marsh's lush and exotic vocals, and the band now stands among the pantheon of emo rockers, including the UK's Keane and the seminal Death Cab for Cutie.

Part of the problem with this style of music is it tends to be a little whiny at times. However, every song on Eat, Sleep, Repeat is an absolute gem. Marsh and his ensemble of Bryan Laurenson on guitars, James Likeness on bass and Jonathan Bucklew on drums, craft an album of songs that are intelligent, contemplative, and vary in mood and temperament. The album begins with the whisper of vibes on "Where's My Head", which then takes you on a journey of guitar interplay with various percussion samples while Marsh croons. It mixes splendidly with the heavy guitar effects sported on the title track, which grinds a bit too much like Coldplay, but has a much edgier, experimental feel. Other standout songs include the piano based "Careful Now", "I'm Safer in an Airplane", "I'm A Sucker for a Kind Word", and the final track, the devastatingly haunting "When You Thought You'd Never Stand Out". Each track features beautifully sludgy guitar riffs, tight rhythm sections, and evocative lyrics. In a small way, Eat, Sleep, Repeat reminds me of the developmental solo work of former Japan guitarist/vocalist David Sylvian, especially the Brilliant Trees album. The only difference is Copeland restricts their work to rock unlike the avant-garde jazz influence of Sylvian's work. Still, you can feel Copeland stretching and growing here, pushing out the inside of the envelope and daring new territories for emo-oriented rock.

Eat, Sleep, Repeat may not be for previous Copeland fans that appreciate their punchier, more energetic work and believe the down-tempo of this record does a disservice to previous releases. However, this is the softer side of Copeland and while there is still a lot of explosive music to be found here, it eschews that quick pacing of some of their earlier songs for a profoundly cynical view of the world. In this sense, Eat, Sleep, Repeat is destined to become a classic.

This album is surprisingly different than Copeland's past albums. But nonetheless, it is just as gorgeous as BMT & IM. I have to admit, I wasn't quite sure of ESR at first. I was somewhat hesitant as it was a bit "darker" than their past albums. But with every listen, my love for it grew. " The Last Time he Saw Dorie" especially caught my attention with the gorgeously haunting female voice accompanying Aaron Marsh. If you loved BMT & IM, don't throw ESR away after one listen. This beautifully deep lyrical and musical album will capture your heart.

My evaluation of Eat, Sleep, Repeat:

The lyrics on the record I feel are as poignant and touching as ever, Marsh did a very good job of creating lyrics we as listeners can relate to. However, on most of the songs on the record the guitars play a noticeably smaller role than in previous CDs. I miss the memorable riffs that get stuck in your head from In Motion and Beneath Medicine Tree. Yes, the instrumentation is broader and Copeland does experiment with some new sounds, but I feel that the guitars' were definitely sacrificed for this. I'm so used to Copeland's sound from the last two records that it'll take a little time to get used to the changes on this record. Sometimes I feel that I can really see close similarities on ESR to past records, but for some songs definitely I think they sound so different, and the melodies are harder to grasp and take a liking to. However, I do recognize and appreciate that ESR is a brilliant piece of work, and I do really like the album as a whole, I think that the songs on it are very diverse. I'm just not sure if I like it more than BMT or IM yet.