Review: The Maine – American Candy

AbsolutePunk Aug 12, 2015

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.

AbsolutePunk Apr 7, 2015

Properly appreciating All Time Low’s Future Hearts requires a bit of background education. While the Baltimore quartet’s newest effort is impressive in its own right as a complete and well-rounded pop record, the gravity of All Time Low’s current success, in songwriting and in relativity, weighs more when it’s put in context.

Put simply, the argument can be made that All Time Low shouldn’t be in this position; they shouldn’t be releasing Future Hearts at all, and certainly not to this much fanfare. The band didn’t just face a major crossroads after the release of its 2011 major label debut Dirty Work, but a question of whether they should still exist.

AbsolutePunk Dec 2, 2014

I came up with an idea a few months ago that I put to the test recently. A couple of weeks ago I shut off the lights, eliminated all distractions, closed my eyes, and played Walk the Moon’s Talking is Hard for the first time, front to back. My hope was that I could connect completely with the music pouring from the speakers and produce completely candid thoughts about the songs. Much like a movie in a theater, music deserves to be played directly to the viewer. It’s tough to do that these days. You’re listening… but are you really?

Walk the Moon is a four piece band out of Cincinnati and they’ve been churning out delicious alt-pop songs since ’08. They had me hooked with “Anna Sun” two years ago from their self-titled, which delivered an incredibly solid line-up of tracks. I don’t know what happened in the past two years, because Talking is Hard is an improvement on Walk the Moon in every way.

AbsolutePunk Nov 23, 2014

“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.

AbsolutePunk Oct 7, 2014

I can’t say Resurrection is inappropriately titled. New Found Glory’s eighth studio LP is, ugh, a ~*return to form*~ in just about every way. This always happens when the South Florida now-quartet faces some sort of adversity — they regress toward the mean. Coming Home was creative and about as daring as New Found Glory has ever gotten but it didn’t work out the way it was supposed to, so they wrote Not Without A Fight, the most polar opposite of Coming Home possible while still remaining in the very specifically defined realm of pop-punk inhabited by New Found Glory music. Now, guitarist and lyricist Steve Klein gets kicked out of the band and we get Resurrection, which is nothing more than a confirmation that yes, in fact, New Found Glory is still a band, they still exist, and yes, in fact, they can still write New Found Glory songs. Great!

Not so great is the fact that new-school pop-punk’s forefathers have regressed so far toward their own mean that they’ve essentially parodied themselves. Resurrection is significantly more enjoyable for me when I pretend it’s a band of people I don’t know jokingly writing songs pretending to be New Found Glory. This is now a band whose career is driven almost entirely by nostalgia; they draw crowds consisting of either young pop-punk fans who listen to them because they feel like they’re supposed to, or slightly older people who want to hear the hits and don’t care much for new material. That’s perfectly fine: Taking Back Sunday is currently romping across that same exact career arc, but while TBS is taking it upon themselves to change their sound, New Found Glory is retreating for whatever comes easiest. The songs on Resurrection have already been written by this band dozens of times before.

AbsolutePunk Jul 14, 2014

You realize about five seconds into Go Down In History that Four Year Strong, the Worcester, MA-based quartet that exemplified the best parts of pop-punk’s “easy-core” subset with its first two full-length releases, has completely and unabashedly returned to form. This is, by all means, a great thing.

I hate using a phrase like “return to form”–a cliché with the best of them–but after the band’s 2011 (probably near-career-ending) effort In Some Way, Shape Or Form, it seems wholly appropriate. That last record showed an unfortunate take on Four Year Strong’s typical sound, one that was seemingly executed through a lens of trying too hard to “mature.” That might have been due to pressures at a major label or simply the band’s own desire to show growth in their art. Either way, it didn’t work very well, and Four Year Strong was left with an album that both alienated fans and didn’t see commercial or radio success.

AbsolutePunk Oct 29, 2013

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.

AbsolutePunk Oct 7, 2013

The law is a complicated thing, but listening to music is not. Listening to music is easy. So even though you might not be interested in learning the ins and outs of A Day to Remember’s ongoing lawsuit with (former?) label Victory Records, you can instead digest something much more straightforward: The band’s new album, Common Courtesy. And in the face of two years of drama surrounding the release of this record, it seems like an important time to remind the Internet that years down the road, people won’t remember that a band was once in a lawsuit with its label – but the record, and these songs, will be remembered. The record lasts forever.

AbsolutePunk Sep 8, 2013

When you hear a record like this and you’re going to write about it, you really want to open up with some grandiose, sweeping statement that sets the tone for the next few paragraphs. I mean, that’s what we’re here for, album reviewers. To tell you that Balance and Composure wrote our album of the year, or whatever. Well, lists are unimportant, and album reviews are glorified blogs. And I have no sweeping statement for you, because The Things We Think We’re Missing leaves me – yes, me, a 22-year-old with a keyboard and reliable Internet connection – completely speechless.

The Things We Think We’re Missing is a significant record. It’s significant in the fact that it’s a new full-length album from one of the most beloved bands in our little community, coming at us in hotly anticipated fashion. It’s significant in the fact that this is the album that will provide Balance and Composure with a launching pad to leave this little community and move along to…wherever the fuck this band is going. Somewhere bigger with more ears listening. It’s a record that has true lasting value, the kind you feel in your bones; the kind where you know it doesn’t matter how many times you hear a song like “Lost Your Name,” because it’ll never feel played out. You know what I mean. You know the songs that you’ve listened to thousands of times but you’ll still never skip when they come up on a playlist. There are lots of those here.

AbsolutePunk Aug 20, 2013

Welcome back to another round of the AP.net Roundtable – an article revolving around a much-anticipated album and the discussion it inspires amongst a handful of staff members. Today’s roundtable article features Jason Tate, Craig Manning, Ryan Gardner, Cody Nelson and myself discussing Yellowcard’s latest release, Ocean Avenue Acoustic. Throughout the discussion we touched on which renditions were executed the best, favorite moments on the release, and why this album has affected so many pop-punk fans. So pick up your copy of Ocean Avenue Acoustic, put the needle down, and check out the latest AP.net Roundtable discussion in the replies. – Drew Beringer

AbsolutePunk Dec 23, 2012

Sometimes, an album takes you by surprise. Sure, you’ve heard tracks by the band previously and you had high enough expectations, hence you picking up the album in the first place, but you didn’t expect to be particularly taken aback by it. You certainly didn’t expect to find yourself casually raving about how *insert somewhat unknown band name here* is the “best band ever!” after only a couple of listens to the record, but hell, that’s how it happens. Modern Baseball are one of these bands. Previously, all I’d heard was a split with Marietta, released early this year, and a handful of demo tracks, and whilst they were promising, Modern Baseball hadn’t quite established themselves as protegees, more ones to watch. So, their first full length, Sports, was a record to look out for rather than a highly anticipated one. However, by Jove, it’s a lot more than that. It appears that Modern Baseball are certainly the best band you’ve never heard of.

AbsolutePunk Dec 12, 2012

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.

AbsolutePunk Nov 4, 2012

Bayside has a wealth of early material to boast about, but the band has continued to improve and impress as it has aged. The group’s most recent LP, Killing Time, proved to be one of its strongest records, as Bayside executed with excruciatingly enjoyable precision the formula we’ve grown to love it by. While fans wait patiently for another full batch of Bayside tunes, the New York natives offer up the Covers, Vol. I EP, a collection of five cover songs designed to hold fans over until new music arrives.

The one thing that Bayside does very well on this covers EP – and the EP’s strongest characteristic, in fact – is that the band does a helluva job making these songs sound like Bayside songs. Anthony Raneri’s nasally vocals and Jack O’Shea’s persistent shredding on the guitar are accounted for and produced brilliantly – just because these aren’t original tunes doesn’t mean Bayside took the easy road on this release.

AbsolutePunk Oct 2, 2012

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.

AbsolutePunk Sep 17, 2012

There is a long running joke/discussion among my best friends about how close Mineral’s guitar licks and tone don’t stray far from that of Temple of the Dog. It’s a stretch, but it brings up the point that we often try to dice apart whole genres so much, and I often wonder why. Is it because there is a distinct sound to the music at hand? Or is it really to separate something you love from something you hate, but secretly love due to popular opinion? Is everything that’s played on the radio awful? No. Given better timing and marketing, some of underground’s most notable acts could have been bigger than they turned out to be.

Review: The Maine – American Candy

Review: All Time Low – Future Hearts

Review: Walk the Moon – Talking is Hard

Review: Copeland – Ixora

Review: New Found Glory – Resurrection

Review: Four Year Strong – Go Down In History

Review: A Wilhelm Scream – Partycrasher

Review: A Day to Remember – Common Courtesy

Review: Balance and Composure – The Things We Think We’re Missing

Review: Yellowcard – Ocean Avenue (Acoustic)

Review: Modern Baseball – Sports

Review: Blink-182 – Dogs Eating Dogs

Review: Bayside – Covers, Vol. I

Review: All Time Low – Don’t Panic

Review: Basement – colourmeinkindness