One of Trustkill’s more melodic bands, Sick City have produced an interesting album that should appeal to all fans of pop rock and pop punk. Many of the tracks have solid back-bone of metallic guitar riffs and uncompromising drumming, coming across likle a ruthless enemy ready to pounce, while Joshua Youngson’s softer styled vocals in contrast hold out the friendship card. Tracks such as “Turning Heads” show the band to have emo tendencies while rocking out at the same time. “Moving, Not Moving Forward” beg attention and dances around you until you join in, while “City Lights” shows the band possess a bit of diversity being more mellow and soulful piano-filled number. “Tora, Tora, My Dear Tora” is like a treasure hunt with a bit of everything thrown in; passionate vocals, hard riffs, a deadly piano, gothic sounding female harmonies and some hardcore backing roars before a quick ray of bleeps and electricity signals the end. “I’ll be fine,” Joshua sings - and yea, by the sound of Nightlife, Sick City will be very fine indeed.

There is no shortage of bands doing what Sick City are offering on debut album “Nightlife”. In fact the Canadians have joined the emo/pop genre queue at the back, and trust me there is a huge procession of bands before them. But Sick City are a bit different from the throng because they actually have the balls to make a decent debut and not just piss around the bandwagon green room. If emo has been an epidemic, Sick City might just be a positive symptom. Fusing emo, pop, post hardcore and a bit of shit kicking noise, “Nightlife” is a strong opening statement from the Canadian five-piece. Check out tracks “Antoinette”, “Killing Ourselves to Feel” and “The Heist” to see a band more than capable of toppling shit like Fall Out Boy et al and do so with a lot more credibility that the pop hitmakers. I can’t say they’re reinventing the wheel but at least they’re pushing the right buttons. You’ve got your ballads, your punk-punch songs, your scene throwbacks; you’ve got an album and a band in the ascendancy. The UK is saturated with trans-Atlantic emo/ rock imports but Sick City have a little kick about them that makes me this kids will grab onto the Canuck melody makers. Keep an eye as Trustkill thrust another band into the limelight this year.

Canadian Rock: There’s nothing nauseating about Sick City. After playing a handful of shows in the metal dominated tundra, the Canadian outfit broke through the ice with their emo sledgehammer. That musical individualism paired with their energetic antics earned them spots on Taste of Chaos and Warped Tour, despite not having any label support. Now with Trustkill Records in their pocket, Sick City is able to serve the masses spoonfuls of their highly addictive rock syrup through their charismatic debut Nightlife. Though mainstream pop has the tendency to become stale, Sick City proves they are more than just the flavor of the week. The quintet stays fresh by detonating an array of invigorating yet diverse rock melodies that lies within the makeup of most of the album. With strong bass and grandiose percussion at the helm, the sturdy structure lets the delicate lyricism soar to maximum capacity. Sick City uses their rhythmic arrow to effectively strike the heart, like on opening track “Anoinette,” where a couple is at a crossroads in their relationship. They also plug several other messages on Nightlife, some which pertain to excitement on “Millions,” enchantment on “Turning Heads,” and forgiveness on “The Heist.” But with Nightlife, Sick City is justified in stealing people’s hearts.

I swear that after this CD review, I will never prejudge something again the way I did with this album. Granted you look at the artwork and it’s hard not to assume that Sick City is just another crappy pop punk band looking for their 15 minutes of fame but while I dreaded even starting this album I put it in for a spin. I was shocked because instead of hearing some cheesy pop song, Nightlife greeted me with a rather aggressive rock tone and while the songs are not “metal heavy”, they can be best described by Sick City’s vocalist, Josh Youngson, who claims they have “craft[ed] these pop songs over a bed of heavier music”. Each of the 12 songs on the album are prime examples of this description; however, the songs that really stick to this imagery are “Islands”, “In The Millions”, and “The Heist”. “Islands”, “In The Millions”, and “The Heist” have lyrical content that don’t necessarily resemble pop songs, Josh does have that style of singing that resembles the The Fully Down or The Academy Is…. The biggest surprise about these songs is they have plenty of guitar work that is very similar to the likes of heavy metal hitters, Bullet For My Valentine. These songs leave a lasting impression, but to much dismay are followed by one of the weaker songs of the album “Moving, Not Moving Forward”. Luckily, the album finishes with a much more impressive track, “Tora, Tora, My Dear Tora”. So thank you Sick City for proving my prejudice ways were wrong. Nightlife not only proves the age old moral that we were all taught by the Bernstein Bears, but despite all the shortcomings of the album the music speaks for itself. Sick City has put forth an effort that deserves much more credit than being good; Nightlife carries the compassion and confidence that you would usually see from a 3rd or a 4th album which only leaves you impatiently awaiting the follow up.

Ever since THE JULIANA THEORY called it quits in early 2006, there's been a void in my music collection of post-hardcore influenced rock bands that can handle emo and pop in a manner that emphasizes musicianship over thematic slop. Winnipeg's SICK CITY may be coming to the rescue however, as the band's debut full-length, Nightlife, effortlessly merges massive rock hooks with airtight songwriting and professional polish. Similar to the aforementioned, and apart from the pop of say... HEAD AUTOMATICA, it's the collective whole that springs out of Nightlife and not the personality of one eclectic frontman. SICK CITY's musical footing is undoubted modern - there's some TAKING BACK SUNDAY in the guitar/piano layering; lead singer Josh Youngson has a bit of Gabe Saporta in him, but drags out a heftier bellow; and the stop/start crankin' rhythm section evokes the mid-tempo shuffling of SENSES FAIL or FURTHER SEEMS FOREVER. The handiwork of producer Zach Odom lends Nightlife's powerful, orchestral feel, a trait which positively tends to build as the release unwinds. While bits of Nightlife tread in syrupy pastures, felt most on the over-dramatic closer "Tora Tora My Dear Tora," (or rather, on any song where Youngson's vocals are paramount to rhythm section), SICK CITY rarely hesitate to pull back on the "big-rock" throttle. The more attention I give to Nightlife, the more I get out of it.

Sick City should be huge. At least, they could be. Right now the band are in their infancy, youngest member just 19, but if what they’ve already achieved in such a short time is anything to go by then the promise and potential here is substantial indeed. Not everything about Sick City suggests impending eminence. The band- drummer Joel Neufeld, guitarists Dorian Paszkowski and Dave Grabowski, bassist T.J. Stevenson and frontman Josh Youngson- formed from the ashes of several other low-level acts in their local Winnipeg area and the Canadians have bizarrely toured with Papa Roach. However, from their natty threads to their infuriatingly catchy yet original tunes, everything else screams success. Good looks and good hooks aren’t the only qualities these boys are equipped with either. They’ve got ‘Nightlife’, a debut full-length overflowing with style and confidence. They’ve built up a high-pitched buzz, plenty of online outlets and Alternative Press magazine naming Sick City a band to watch. And they’ve got great connections too- Neufeld’s brother, Comeback Kid singer Andrew, helped them secure their first shows, From Autumn To Ashes dug them enough to invite them on tour and Trustkill Records have put plenty of hard cash behind their progress. And, like all the best pop groups, there’s no labyrinthine history to swot up on here either, Sick City have packed all this stuff into the last 12 months. And yep, you heard us right, this is a pop band. Oh sure, Sick City may have hit the road with the odd metalcore band and feature a few heavy beats and intricate, original guitar lines of their own. But this is definitely pop music. It’s the sort of stuff that tempts the fellas who’ve twiddled knobs for Jimmy Eat World to put the finishing touches to your record. It’s the sort of stuff that would have saved Top Of The Pops from the cutting room floor. And it’s just the right sound to have fans of Foo Fighters jumping out their seats, Story Of The Year supporters dancing like idiots in super-sized arenas and the MCRmy going mad. They may not be in the same league as any of those big names just yet, for now they don’t even have the right songs for superstardom, but if the band can keep it together and keep getting better, pretty soon everyone will be singing on the streets of Sick City.

This band of five canucks struck it lucky when they played their first show at Comeback Kid's release show for their album "Wake The Dead." What followed was a set of co-headlining and headlining tours that garners success up north as well as internationally. Trustkill had the pleasure of releasing their new album "Nightlife" here in the states and I had to give it a listen. This rock band is often labeled as being "emo" and despite my thoughts on how that word is misused, it is rather true. While SC institutes melodic guitars and riffs filled with rhythmic goodness, they are rather light to be called just straight rock. This being their second album, it feels like they have been able to fit into their skin a bit more since their self released album "Where Do We Go From Here." As each song feels like a separate piece to a nice complete poetic whole. The flavorful vocal styling of Josh remind me of the charismatic throat candy of some pop punk bands, which keeps your heart racing along with the energetic rock. I'm partial to the interlude "Nightlife" because of how out of place and, at the same time, how it seems to work together. While the band isn't working with anything new, they surely make the sound their own with catchy hits and talented energy. In the end, this album is a skip-free zone. That means you should be keeping your hands away from the next track button because each song is great. If you were a fan of Downtown Singapore or are a fan of Novice, this band will fit like a glove. But I'm betting a lot more people will get a kick out of the infectious melodies and vocal styling that Sick City seems to be chock full of.

Full of Carpe Diem anthems and sinister love songs, Nightlife is a near-perfect offering from Winnipeg's Sick City. Much has been made of how catchy the quintet's brand of metal-tinged punk is, and that's certainly one of the disc's strong points; the songs are concise and stick with you after just one listen. The real treat, however, is vocalist Josh Youngson's melodies and lyrics. Syllables in lyrics like "I can tell you come fall we'll move to Montreal / We'll get that one bedroom and lock ourselves inside / We can hide there, evenings filled with heavy breathing / Like hey Mercedes days when we were young and things were right," from the excellent ballad "City Lights," tumble off his tongue in a way that suggests he put significant effort into the words he was writing. Other standout tracks such as "Antoinette" and "Killing Ourselves to Feel" make Nightlife one of the most exciting releases of 2007.

I really like Canadian rock band Sick City's charming sound, who can resist their flirt with melodic hardrock delivered in a modern package of hookladen emo choruses. I find it very amusing to get this refreshing dose of 80's riffs mixed with emo-like vocals, the opener "Antoinette" is excellent! If Elvis Costello collaborated with A Change of Pace, the result could very well be "In the millions" or if Fall Out Boy decided on writing a song for Harem Scarem, you would get "Moving, not moving forward". The punkpop-ish "Islands" stands even closer to Fall Out Boy while the amazing piano based rock ballad "City lights" is what you get if Something Corporate was sent back to 1987 in a time machine and wrote a song. Bands like Cartel and Foo Fighters comes to mind while listening to "The heist" and I think even fans of Funeral for a friend and Lost Prophets will enjoy songs like "Smiles and cries" or "XX and XY". 4 tracks off the 5 track "Where do we go from here" EP are featured on the album and that well crafted EP was no beginner's luck, Sick City continues to impress me with this full length debut.

After making itself a household name locally, Sick City has spent the past six months writing and ultimately recording in Atlanta, Ga. with Kenneth Mount and Zach Odom (Jimmy Eat World, Cartel). Vocalist Josh Youngson labels the music as “60 per cent evil, 40 per cent pop,” adding that it is “kind of a joke, but actually very accurate. All I really want is to make the kids clap their hands, dance, and maybe think a little bit on the way.” His vision is surprisingly accurate. The CD includes a re-recorded more rock-emo approach to the EP tracks, with little to no screaming. The track “Killing Ourselves to Feel” makes you want to bob your head, and the catchy vocals will leave you joining in on the group vocals: “we don’t care.” As brief intermissions from the upbeat and danceable tracks are the instrumental title track “Nightlife” and the melodic, piano enthused track “City Lights,” which showcases Youngson’s great voice. Stand out tracks include the first single “Turning Heads,” “Antoinette,” and the last track “Tora, Tora, My Dear Tora,” which features Comeback Kid vocalist Andrew Neufeld as an added touch. Call the emo-rock genre overpopulated, but Nightlife is a great CD and hopefully Sick City can put another Winnipeg band on the map.

This City’s nightlife is worth scoping out. While many aggressive rock bands attempt clean vocals, few do it well- which is why it’s surprising that newbies Sick City nail it their first time out. One of Nightlife’s first indicators of vocal success is “XX & XY,” which showcases the skills of front man Josh Youngson, who works his formidable range. One of Nightlife’s best tracks is “Moving, Not Moving Forward” which boasts an unforgettable chorus. The quintet have no problem kicking up the intensity, either, as “Millions” begins with a rollicking, metallic guitar riff, layered perfectly with Youngson’s unique voice to create a down-and-out rock song. In a huge sea of mediocre bands making unoriginal sounds, Nightlife is a cut above the rest.

Sick City's drummer is Joel Neufeld, who also helms the skins in Sights & Sounds, who must be ecstatic at having success in 2 bands - Not many people get to see the road in one band, let alone 2 that don't suck. Sick City play tightly-wound rock with just a hint of pop influences - There's no bubblegum here though, it's mature and refined. Sick City sound like they've been playing together for years. Most bands take at least an album or so to mature and find their sound but these guys have accomplished that with just an EP behind them and a history that is barely 3 years old. The disc incorporates many elements from the rock genre of music - the disc is peppered with some background screams, some heavy guitar work and some upbeat tempo's that make this a refined package - there's something for everyone here, and that is not a bad thing. Singer Josh Youngson has a clean and distinct voice that soars above the band especially on the track Moving, Not Moving Forward. I wish I knew exactly what it was that makes these bands so good. Maybe it's the big sky in Manitoba, the exclusion and distance from any of life's bullshit. Perhaps the air or water is cleaner, but the one thing I do know for sure is that Sick City make quality music, and they should be proud of their achievements even so early in the game. So go forth, see them in your city and don't forget to remind them how good this record makes you feel.