Today I’m proud to premiere the latest video from Leather Bound Crooks called “Summer Nights.” The band mentioned in a recent interview that, “We really wanted to create a chill end of summer vibe. The song is central to a summer love and the tones and melody create this blissful atmosphere. We’re glad the lyric video is able to reflect the track’s aesthetics so well.” Leather Bound Crooks’ latest record, Breach, is available on all streaming platforms via Forward Pace Records.
When I last spoke with Vinnie Caruana a few weeks ago, he was incredibly excited to share his solo record Aging Frontman with everyone. Now that I’ve had some time to absorb everything that is in this fantastic album, Vinnie and my conversation still sticks in mind with his cautious optimism towards his outlook on not only his music, but his life and accomplishments as well. Aging Frontman on the surface is an observation of Vinnie’s outlook on his great career with bands such as The Movielife, and I Am The Avalanche, yet this solo record solidifies an even greater standing with just how accomplished a musician and songwriter Vinnie Caruana is and has become.
When The Lumineers set out to record the follow-up their highly successful sophomore effort, Cleopatra, the band managed to raise their expectations for what would become III. The album is presented in three chapters: each coming with their own set of themes, topics, and overall feel. The album itself progresses nicely as it unfolds over these chapters, and co-founder/multi-instrumentalist of The Lumineers, Jeremiah Frates mentioned in an interview that, “This collection of songs worked out in a beautiful way, and I feel with this album we’ve really hit our stride.” The confidence that comes through on this record can be felt, but it’s a bit of a departure from the upbeat nature of their second record. What we are left with is an “artist’s record” that stays true to who The Lumineers are as both people, as well as musicians.
Today I’m happy to bring you the premiere of the new music video from Out of Service called “Stories.” This new single comes from their latest effort, Burden, and I’d recommend this band for fans of As Cities Burn and Valencia, but Out of Service has a sound that has continued to evolve nicely since their debut LP, Morning.
The haunting first lyrics on “Leather Daddy” from Microwave ‘s latest record, Death is a Warm Blanket, come in packed with depth, substance, and relatability. When front-man/guitarist Nathan Hardy sings, “If you don’t want to talk, then just don’t talk /I’m fine with us just sitting in silence / If you want me to go then just say so / You can drop me off somewhere / I don’t know…I don’t have anywhere to go,” it’s nearly impossible not point to a relationship or friendship in the past or present that fits in with this rhetoric. We’ve all been in relationships when things just aren’t clicking, and it feels like we reach a point where we stop caring. Microwave are able to bottle up a ton of angst and polish it up enough to make an album worthy of being engulfed in.
The praise and allure surrounding the seventh studio album from Thrice is one that I initially didn’t fully grasp at my first listen, nearly ten years ago to the day. Maybe I was in a bad mood that day or was distracted during my listening experience, because as I revisit Beggars now, I can’t fathom how I would have felt anything but pure astonishment and wide-eyed wonder at this pre-hiatus masterpiece by the California rockers. Beggars was released digitally a full month before the physical release date of September 15th, 2009, which gave eager fans a chance to absorb the new sounds from Thrice before rushing out to their local record store the month after. From songs as immediately gratifying as “All the World is Mad” to the progressive-rock elements of “Circles,” Beggars had a little bit of everything from all phases of Thrice’s expansive discography. The self-produced record (with a specific and well-deserved credit to lead guitarist Teppei Teranishi) is a wonderful snapshot of what the band was capable of making when firing on all cylinders.
A look back at this record brings back many emotions for me from hearing these songs live as recently as their spring tour, and now that I have the foresight of seeing where Thrice would eventually take their sound, one can’t help but praise this album as being one of their best.
On the latest record from San Diego, California rockers Western Settings they begin to embrace the uncertainty of living with the unpredictability of each passing day on Another Year. For those unfamiliar with the band, they remind me a lot of established punk rockers Alkaline Trio with a solid mix of pop sensibilities of The Ataris. Comparisons aside, Another Year rocks with a newfound immediacy not usually found with bands less than ten years under their belts.
The latest EP from Las Vegas-quintet Amarionette marks the next logical step in their unique pop-rock sound in an album that they have titled Evolution. The record is filled with shiny pop harmonies, pounding drums, and plenty of bright-colored synths to round out their repertoire. Led by the first single, “No Control,” Amarionette are taking full advantage of their turn in the limelight with a self-released record worthy of more exposure in 2019.
Debut albums are rarely this immediately endearing, but when you make excellent dreamscape rock, such as what Silver Bars have created here on Center of the City Lights, it finds a way to pull you in. The Austin, Texas four-piece are led by vocalist and guitarist Paula J. Smith, and her confident vocal delivery allows the rest of the group to fill out the wall-of-sound that encompasses the majority of the record. Much like other dream pop-bands such as Beach House, Silver Bars have created sonic musical landscapes with cranked up guitars to help them stand apart.
The 10-track album is filled with lush sounding rock songs, and the band sounds as confident as ever in their delivery. Led by the single, “Lost You to L.A.” Silver Bars’ introduction to the music world allows the listener to come along for the ride with favorable results in the listening experience. The dual-guitar attack from Smith and Ken Hatten is the band’s real strength, as they know exactly when to crank up the sound, or allow a song to brood for a bit. Rounding out the unit is the ultra-talented bassist Stephen Thurman and drummer Johnny Wilkins.
When setting out to record their ninth studio album, Sleater-Kinney began pondering with the idea of working with Wilco singer Jeff Tweedy on the follow-up to No Cities to Love. However, once S-K began the writing process and collaborating with St. Vincent, the band loved this new and exciting direction too much to pass up the chance to have St. Vincent produce the entire album. Once considered one of indie rock’s most reliable bands for their steady work ethic, Sleater-Kinney found themselves at a late-career crossroads. Do they make a similar sounding record to what their audience had come to expect, or push themselves to their creative limits by reinventing what their band could become? The latter is what came to fruition here on The Center Won’t Hold: an electronically expansive record that tinkers with modern sounds and state of the art production elements.
Today I’m excited to bring you the premiere of Western Settings’ new song, “Another Year.”
For those unfamiliar with the band, they are an incredible punk rock band from San Diego, California, and this second single is a strong representation of the band: solid punk rock with ear-candy hooks.
Lead singer and bassist, Ricky Schmidt, is as endearing as ever on the song, and the dual-guitar attack from Dylan Wolters and Will Castro allows the track to soar to new heights. If you’re into punk music, this band is one to watch as the year unfolds.
The song is available for streaming below, and the album is available for pre-order now on Bandcamp. It will be released on September 6th.
When preparing for their fifth studio album, Superbloom, Ra Ra Riot mentioned in several interviews their intention to create an album worthy of lasting impact and an enjoyable listening experience. Front-man Wes Miles co-wrote two of the twelve songs with former Vampire Weekend guitarist Rostam Batmanglij, and in doing so, helped expand Ra Ra Riot’s repertoire and sound in general. Miles mentioned in an interview that the band wanted a “DIY, demo mindset” to many of these songs, yet Miles decided these demos that were recorded in his parents’ house were strong enough to be considered the final versions.
One of the first things listeners will notice on Superbloom is how the simple song structures and sounds make for a great experience. This breezy collection of twelve songs are all well thought out, and make a lot of sense cohesively as an album.
This past week, I was able to chat with I Am the Avalanche and The Movielife frontman, Vinnie Caruana, about his upcoming solo tour and new record Aging Frontman. The record will be released October 4th via Know Hope Records and pre-orders are currently live. In this interview, Vinnie shared his passion for songwriting and how he continues to motivate himself as an artist.
On the lead single from Cowboy Diplomacy, “The Get Down” rocks with the urgency of roots-rock bands such as The Revivalists and Nathaniel Rateliff and the Night Sweats, with mostly favorable results. The song itself is built around the guitar licks of lead guitarist Billy Boswell and lead vocalist/guitarist Ian Cochran, and some foot-stomping percussion from drummer Matt Whilden. After the introductory lyrics kick in, a blast of horns and good vibes fill out the single introducing Cowboy Diplomacy to the world.
Now three albums into their career, Of Monsters and Men have all but abandoned their happy-go-lucky and charming takes on indie rock in favor of stadium-ready pop anthems on Fever Dream. The first lyrics on the LP are telling as lead singer Nanna Bryndis Hilmarsdottir opens with, “I see color/Raining down/Feral feeling/Swaying sound/But I don’t know what you want.” The entire record is filled with much brighter moments than we have come to expect from the Icelandic band, and this album turns out to be their best to date.
Coming off of two successful records in My Head is an Animal and Beneath the Skin, Of Monsters and Men could have very well made a similar sounding record for their third effort. However, never ones to be complacent with what they have accomplished before, the band took it upon themselves to push themselves to their creative limits on Fever Dream. Co-produced by the group and under the trusted tutelage of Rich Costey (Frank Turner, Foster the People), Of Monsters and Men have fully embraced the pop underlining that were embedded in their earlier work and made a record worthy of the size of the venues they are playing this fall.
The state of the world we are living in requires many outside distractions to cope, live, and find a way to be happy in general. On New State of Mind, Night Riots provide plenty of lush musical landscapes to help remind us the beauty of well-crafted pop-rock songs with deeper meanings behind each track. Now that their new record has arrived, Night Riots seem poised for making a significant statement in the music scene with an album that sounds simultaneously professional, dynamic, and captivating all from the first listen.
Never a stranger to the darker tones and mystery surrounding the after-hours nightlife that were presented in their earlier material, New State of Mind is surprisingly bright. Led by the atmospheric album artwork that finds the cover model finding the beauty within herself, there are several songs with massive textural feelings and dual meanings within them. The album was co-produced by Eric Palmquist (Thrice, Bad Suns) and Night Riots, and the production elements showcase a band painting with broad, colorful strokes; never afraid of taking a calculated risk along the way.
On their seventh studio album, Order in Decline, Sum 41 wastes little time in describing the state of the world we are living in. And they do a great job of summarizing the feeling of growing up in a country where the leader seems to suck the life out of everything that we once held so dear. Sum 41 have delivered their late career masterpiece and they have never sounded better in this mixture of punk, metal, and rock that pulsates with immediacy and a strong call to action from their fan-base. The styles they have teased and tinkered with over their career come to full fruition on this record that finally realizes the band’s full potential.
Even from the first few riffs delivered on “Turning Away,” Sum 41 rock with a confident swagger found in scene mainstays such as Green Day, while still showcasing vulnerability and a human element behind their words. Deryck Whibley sings in the first powerful chorus, “I’m turning away/Because I feel like I can’t go on, while we’re living in this lie/And when all of my faith is gone, I don’t even want to try/There’s nothing that you could say, that could ever change my mind/And will all of these steps I take, it’s giving me back my life.” There’s a lot to unpack here, as we know Whibley nearly lost his battle to alcohol addiction and had a long road to recovery to fight for his life, much less his career as a touring musician in a successful band. Whibley sounds re-focused, refreshed, and doesn’t appear to want to let his new outlook on life go to waste any time soon.
As a life-long 311 fan, I approached Voyager with more optimism than most. I looked forward to each of their releases every other summer and would typically be one of the first ones to purchase their new music on the street date. Over time, even as my taste in music gravitated towards punk/emo-tinged rock, 311 remained a band I would find myself coming back to as spring came to a close. With multiple summer tours packing amphitheaters across the US, 311 have always benefited from a patient listening base. This album should do little to change their devout fans’ opinions on the direction the band is going. The fact remains that at thirteen albums in their career, they may have played things a little too safe on Voyager.
The recently released single by Night Riots is a synth-laden and sonically expansive song called “Loyal to the Game.” The track comes from the band’s sophomore album New State of Mind that will be officially released on July 26th via Sumerian Records. The track is ripped right from the wheelhouse of electronica-styled bands such as The Neighbourhood and No Devotion, with mostly favorable results.
The Manchester-based indie rock band, The Covasettes come bursting onto the music scene with the brightly colored EP It’s Always Sunny Above the Clouds. With it’s Care Bear-styled cover art, I was initially unsure of what to expect from the band that I was introduced to. However, The Covasettes quickly won me over with the core influences of Arctic Monkeys, The Killers, and Coldplay that are felt warmly as they create a wonderful collection of songs. The four-piece band is comprised of lead vocalist/guitarist Chris Buxton, lead guitarist Matt Hewlett, bassist Jamie McIntyre, and drummer Matt Buckley, and their chemistry as a unit comes across undeniably on this record.