Mending Broken History

In April of 2016, we said goodbye to AbsolutePunk and launched Chorus. Saying goodbye to something that was such a massive part of my life was difficult, but also absolutely necessary. The following years have allowed me a freedom and release from the mental weight of that website that I find hard to put into words. The only minor regret I have, from time to time, is that so much of the history of the music scene was lost. But whereas I am very glad many threads, comment sections, and horrific posts are forever scrubbed from the internet, there is a part of me that misses the content and historical record of big events, certain album releases, and old interviews with bands that have been forgotten to time.

In order to keep some of the scene’s musical history alive, we’ve republished some of the old AbsolutePunk content here on Chorus and will continue to bring over various articles we think are historically relevant. We’ve also added a new visual banner on this content to better signify that it was once on AbsolutePunk and to link to this post, explaining as such.

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Review: The Maine – American Candy

The Maine - American Candy

The year 2007 was a good time for fans of alternative pop music. That year was absolutely littered with bands who were writing catchy hooks left and right: Mayday Parade, Every Avenue, All Time Low, Forever the Sickest Kids, We The Kings, Farewell, The Cab… the list goes on and on. The problem however was that this resulted in a homogeneous sludge of power chords and breakup lyrics that made it impossible for anyone to stand out. Well, there was also a five piece band from Tempe called The Maine that began making waves with their EP The Way We Talk in ’07. Fast forward eight years and, unlike the majority of the bands above who have more or less disappeared completely, The Maine withstood the test of time, and with the same lineup to boot. They’ve grown and adapted their sound through the years and they’re still alive and well, this time producing one of their most well-rounded releases to date with American Candy

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Interview: Chuck Comeau of Simple Plan

Simple Plan

How’s it feel to finally have your new song, “Saturday,” out?

We’re excited! It’s been a long time since we’ve put out new music. The last thing we did was like this little EP that was a little bit of a b-side, I guess, quote, unquote — songs that were leftover from the Get Your Heart Onalbum. We take a little bit of time in between records because we go on tour for two, two and a half years on each cycle. Then we stop for a few months, catch our breath, and then we start writing and we write for a long time. We wrote for like a year and a half on this album. We wrote like 70-75 songs. It’s definitely exciting. People have been waiting and we’re finally able to give them something they can listen to and get stoked about the album. It feels good to feel like, “Okay, we’re kicking up in gear,” and we’re slowing switching from writing, making the record, and recording it, to actually having music out and going back on tour and planning some shows and the album cover and all that. So it’s exciting that we, as a band, have the luck and the privilege to be doing it for a fifth time.

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Review: Copeland – Ixora

Copeland - Ixora

“Your music helped save my life.”

These words are so simple, so jarring and so potent. Almost every musician has heard them at one point in time. While some may be exaggerated and overstated, the fact remains that music is one of the strongest voices in this world and its impact can never be underestimated. 

How is this relevant, you ask? Copeland helped save my life.

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Interview: Adam Lazzara of Taking Back Sunday

Taking Back Sunday

On March 18th Taking Back Sunday releases its sixth full-length record so we got on the phone with vocalist Adam Lazzara to learn more about it.

When did you start writing this record?

We started writing not too long after the self-titled record came out. Just because we all live in different states, whenever we got home from tour we would get together to write and find a place that was kind of out of the way so there weren’t many distractions.

This time I noticed you went with two producers, Marc Hudson and Mike Sapone, instead of returning to Eric Valentine like you did with the self-titled.

That kind of happened haphazardly because we had done a round of demos in Michigan with Marc Hudson and then we did another round of demos in New York with Mike Sapone. When it came time to actually record the record we thought things went so well when we were demoing with those guys, so if it ain’t broke, don’t fix it. We’ve had a relationship with Mike Sapone since the band started so that is one reason we went back. As for Marc Hudson he’s been touring with us for years so it was just two guys we felt really comfortable with because they were our friends first. There really wasn’t much of an outside influence.

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Review: A Wilhelm Scream – Partycrasher

A Wilhelm Scream - Partycrasher

Many bands who release an album after a long hiatus inevitably disappoint. Expectations are too high, inspiration isn’t what it once was, and momentum is lost. Partycrasher is a boot to the face of every flat late-career release that preceded this one. “Why’d I take so long to break these chains around me?” The band soon answers the opening self-imposed question with an admission in “Boat Builders”: “I admit I’ve been bored, I’ve been lazy.” The next 10 tracks serve as more than an adequate apology, as A Wilhelm Scream has stuck yet another jaw-dropping middle finger to the competition.

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Review: Blink-182 – Dogs Eating Dogs

Blink-182 - Dogs Eating Dogs

When it comes to Blink-182, there’s not much the three piece hasn’t done. They’ve released a couple classic albums, released even more classic songs, become a staple in modern rock music – and everything in between. Teenagers and adults took the Internet by storm when the band announced that they were reuniting back in 2009 after a four-year hiatus. Two years later came the release of the band’s first album in eight years, Neighborhoods. However, it left a sour taste in a lot of people’s mouths when it was revealed that the band recorded the majority of the album separately, sending each other tracks via the Internet. While the album followed in the musical direction of the band’s untitled album, it left more to be desired, especially with the uncertainty of when we would hear more material from the band. Then in October the news broke that the band had left their longtime home at Interscope and planned to continue as independent, like many others are in these changing times in the music industry. Shortly after the announcement of the band leaving Interscope, the guys tweeted that new music would be out before the year was over: the Dogs Eating Dogs EP.

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Review: All Time Low – Don’t Panic

All Time Low - Don't Panic

There’s a fine line between imitation and innovation. All Time Low had two options: try to be the next Fall Out Boy or try to be All Time Low. They chose the latter and for that, myself along with many others worldwide are eternally happy with this decision. After the band’s breakthrough album, So Wrong It’s Right, pressure mounted on the four young men from Baltimore, Maryland to be the next big crossover act from the scene. What followed were Nothing Personal and Dirty Work, two albums that saw the band go from simply a pop-punk act to spreading its wings and diversifying its sound. Unfortunately, the attempt to write the next big radio hit was not a successful venture and All Time Low had to return to the drawing board. Although not critically as well-received as its predecessors, it showed the band had chops to transition from the Warped Tour crowd to a potentially bigger atmosphere. It was just the early stages of what sets up Don’t Panic, the band’s fifth full-length album to date.

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Review: The Cab – Symphony Soldier

The Cab - Symphony Soldier

sym·pho·ny sol·dier /ˈsimfənē ˈsōljər/
1. a person engaged in the service of fighting for music they believe in

It hasn’t been an easy journey for pop trio The Cab, a band that originally began as a quintet before signing to Fueled By Ramen in mid-2007. Their debut album, Whisper War, saw moderate success when it was touted to be the next big thing in the industry. However, as years passed, member departures further crippled the public’s view on the group. With the lack of new material to show due to various label disputes, some wondered if a second album would even see the light of day.

Perhaps all of these adversities were just a blessing in disguise. Although members were lost, the driving force behind The Cab still remained. Being relinquished from the clutches of their record label allowed them to finally create the album they wanted to create – and music at this point couldn’t be more grateful.

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Review: Manchester Orchestra – Simple Math

Manchester Orchestra - Simple Math

”I remember seeing the Blood Brothers play at the Masquerade and it scaring me to my core. I’d never heard of them. I just went with a friend, and then shortly after that I realized that I want that power. I wanted that power just to shock people with sound.” – Andy Hull

The first time I ever met Andy Hull, we connected a bit on a love for The Blood Brothers. Not a band you would expect the frontman and lyricist of Manchester Orchestra to have a heart for, but in reality, Hull has quite a musical archive of influence, even telling me how he likes turning fans onto new bands or ones they may never have heard of. Aside from his admiration as a music fan, the above pulled quote also speaks volumes in a quest to be not only challenged, but have the audacity to simply “put up or shut up.” With 2009’s Mean Everything to Nothing, the band saw a sophomore incline of sorts: two radio singles and a well-received album that personally landed in my lap at one of the biggest changes in my life thus far. On the most personal of levels, the band’s second release was the perfect soundtrack to leaving college and moving away as Deja Entendu was the score when entering it.

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Interview: Geoff Rickly of Thursday


Thursday will go down as one of the iconic bands of our generation amongst the hardcore and punk scene. Whether you think they’re not underground enough, or don’t play enough hardcore for your liking anymore, they’ve certainly proven themselves time and time again on record, and more importantly, within the community itself. On the heals of their next album, No Devolución, this will be a sharp left for many, but long time fans will see the band shine at possibly their brightest moment yet. Stripping themselves of most of their hardcore elements, the album still packs an elegance and driving force that made us all fall for the band’s music over a decade ago. On the second night of their tour with Underoath, Geoff Rickly sat down with me over chips and guacamole to talk about the last ten years, the scene and how proud he is of the band’s next album.

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Review: Jimmy Eat World – Invented

Jimmy Eat World - Invented

There has to be a plaque somewhere in Jimmy Eat World’s recording studio reading “With great power comes great responsibility.” A fitting mantra for more than Peter Parker’s web-slinging morality wars, when you’re one of the most dependable and profoundly influential rock bands on the planet, keeping your ears to the ground and never abandoning your legend is a heck of a responsibility. Harnessing their impeccable creative powers once again, Invented is a melting pot of Jimmy Eat World’s notoriously engaging rock music that showcases ample use of dedication, skill and intelligence over 50 minutes that will burn into your brain (with delight). Fight them off, they come back stronger. You can try to restrain the strength of Jim Adkins’ flawless vocals or even attempt to push the most talented rhythm section in alternative rock out of your way, but it’s no use. Jimmy Eat World has this down to a science and you would be hard-pressed to find this all much ado about nothing.

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