Today I’m thrilled to share with everyone a teaser for a new single from talented pop artist, JJ Braves, called “The High Dive.” With breathtaking vocals paired with lush musical arrangements, JJ Braves has crafted a track ready for any playlist.
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Nostalgia can have a funny way of bringing back a flood of memories, whether they be for good or bad. Story of the Year do a great job of honing in on the positive memories of their platinum-certified debut LP, Page Avenue, into a re-imagined version of this sound found on their sixth studio album called Tear Me To Pieces. From the similar cover art, to the references of a familiar time on the song “2005,” Story of the Year embrace their past while still looking towards the future. Tear Me To Pieces features a more polished version of themselves that they hinted at on Wolves, and probably wish they had the poise to create back in 2003. This album is a solid collection of songs that hit hard from front to back, and still leave the door wide open to where they could take their sound next. With themes ranging from self-doubt, anxiety, and meaningful relationships, Story of the Year’s return to the music scene couldn’t have come at a better time.
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Today is a great day to share the self-titled debut LP from The Clamor, that comes from the mind of Aaron Louis. This new punk rock project channels musicians like Joe Strummer and Billie Joe Armstrong into a crowd-pleasing package. Louis shared this about the record:
The album is not me trying to recreate that atmosphere but a place to begin where I left off. Even if that just means having fun – like not being too precious, finding ways to be vulnerable, and embracing the collision of styles, all of which I hope you feel in this album. I like this moment in my life and feel like this album was a way to create a sort of sonic snapshot of what I’ve been thinking about and what’s important to me. And thinking of how fast it goes.
Get ready to fall in love with The Clamor.
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Today I’m thrilled to share with everyone the new single and music video from rock band, Iguana Death Cult, called “Pushermen.” With a sound that strays somewhere between the indie rock of The Strokes and the craftsmanship of pub rock bands like Catfish and the Bottlemen, this band checks all the right boxes. On their video, the band shared, “‘Pushermen.’ It kind of sounds like an action movie doesn’t it? Sadly we came a couple of million short, so Hache came with the idea to do a casting video for a fictional film called: ‘Pushermen.’ The scenes we did were loosely based on the movie ‘Superfly.’ If you know, you know.” The track comes from their new LP, Echo Palace, out everywhere music is sold on May 12th, and I was also able to catch up with Iguana Death Cult for a brief interview below.
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How exactly did AFI transition from being a band that hardcore and goth kids had in their back pocket to becoming such a pop culture worldwide phenomenon? The answer depends on who you ask. Having outgrown their indie label of Nitro Records given the monumental success of their fifth studio album, The Art of Drowning, AFI were simply destined for a wider audience on their major label debut called Sing the Sorrow. This record was produced by A-list veterans Jerry Finn (Blink-182) and Butch Vig (Nirvana), and they helped the band craft some of their strongest songs to date. Much to the surprise of many record executives, and to the delight of their Dreamworks Records label, AFI’s Sing the Sorrow would sell 96,000 copies in its first week and debut at number five on the Billboard 200. This record seemed to be an unstoppable giant that both the hardcore/goth kids could sing a long to with the same audience as newer fans who liked Blink-182 and other pop-punk bands. The lead single of “Girl’s Not Grey” was a perfect choice of introducing AFI to a wider audience, and it was filled with slick hooks, great guitar work, and Davey Havok’s trademark vocal howls. The great thing about AFI’s growing audience was that their concerts would be a combination of kids from all different backgrounds coming together with the same unified feeling towards this band’s music. This accomplishment didn’t happen overnight, and yet AFI’s trajectory had quickly launched into the stratosphere.
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It’s really a treat to watch an artist blossom gracefully as they release new music that they believe in. Chase Tremaine has returned with his third full-length studio album, Accidental Days, that was produced by Brendan St. Gelais, and Tremaine really does a great job of capturing what I love most about guitar-driven pop songs. Tremaine has mapped out a comprehensive musical landscape that could very well be his best work yet, and it’s certainly my favorite of his to date. Through these ten songs that are filled with passion and purpose, Tremaine makes Accidental Days a labor of love, while wearing his influences of bands like Thrice, Mae and other prominent artists in the scene into a beautiful composition of music.
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I’d like to introduce everyone to Booze Radly. This Philadelphia-based, five-piece emo/punk band is comprised of Alex Manescu (Guitar/Vocals), Dylan Molloy (keyboard/vocals), Vince Dejesus (Guitar), Youssef Moussa (Bass), and Peter Sovia (Drums). On their latest EP, entitled Lose, Badly, they take the best parts of “loser rock” and re-package it in a meaningful way that makes you ultimately root for their success. This band sounds like a mixture between Gob, Homegrown, and Weezer, all put into a blender to see what drink you’re ready to consume.
They kick things off with their lead single, “White Guy Emo,” that features some nice guest vocals from Gabby Relos to layer out their vocal attack. Manescu opens with, “First loves never really fade away / But how interesting is that for us to say / You know I’m tired and it’s a chore / But these songs keep coming cause all we are is bored,” as he captures that teenage, punk rock spirit in a nutshell. Other songs like the frenetic “Hydro Illogical” find Booze Radly experimenting with bratty vocals paired with a mosh pit-ready anthem, while “Crash and Burn” keeps the interest level high in this punk band’s attack.
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Today I’m thrilled to bring everyone the new single from indie rock solo project, Charlie & Margot, called “Sleeping.” The artist recently announced their debut LP, entitled Joyride, that will be out everywhere music is sold on April 7th. With a style that strays somewhere between Dr. Dog and Jason Isbell, Charlie & Margot are right on the cusp of greatness. Matteo DeBenedetti shared, “‘Sleeping’ is written about facing up to the idea that sometimes putting your trust in other people can ultimately end up being a bad thing for you, and sometimes it’s best to take matters into your own hands. In this instance, it’s very specifically regarding being a musician, being involved with other people as a touring musician (as a grown adult) at a DIY level, and navigating all the nuances that come with that.” Charlie & Margot may just be the next great musical discovery.
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Today I’m thrilled to share with everyone the premiere of the latest single and music video from VOLK, called “I Fed Animals.” VOLK is Nashville indie-rock duo Eleot Reich (drums, vocals) and Christopher Lowe (guitar, vocals). For those unfamiliar with the artist, VOLK fits somewhere within the same style of Yeah Yeah Yeahs and The White Stripes. The song comes from VOLK’s new EP Stand The Test, out everywhere music is sold on April 28th. Reich shared this about the single, “I originally wrote ‘I Fed Animals’ in the makeshift living room of a traditional East Berlin apartment, coal heater and all. It was located in a ‘hinterhof’ so damaged by water, the only tenants were me and my raging alcoholic neighbor who loved to blast techno at four in the morning. I was an inspired twenty-four year old falling in love with the blues as my gateway to songwriting, celebrating my own independence and sexual freedom.” The director of the video, Patrick Pierson, also shared, “’I Fed Animals’ is a mix of every beloved genre that you accidentally rented and loved at a video store. It’s punk, it’s country, it’s cyberpunk, Kung-Fu and anime. It’s a Willy Wonka concoction that can’t be defined, yet it doesn’t want to be anything else. Just like the band, VOLK.” Welcome to the world of VOLK.
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The eighth studio album from the animated band known as Gorillaz is a pretty thrilling return to form. While their previous effort known as Song Machine: Season One was bit of a bloated collection that hit as often as it missed, Cracker Island wears its influences proudly across multiple genres, and might be their most cohesive album to date. At ten tracks and a running time of under 38 minutes, you can put Cracker Island on when you need a reprieve from the noise of the outside world. The set was produced by Greg Kurstin (Beck, Foo Fighters) at his own studio in Los Angeles, California, and he does a great job in honing in on this band’s strengths. Mainly from the mind of permanent collaborator/lead singer, Damon Albarn, Gorillaz find a nice groove within these Latin-infused beats and crisp production to engulf the listener into a world of pure imagination.
Kicking things off with the title track, a trippy, synth-driven song clouded in mystery about the world you’re about to embark unto, Gorillaz capture the spirit of their early, bulletproof work into a solid re-introduction. The opening lyrics of, “On Cracker Island, it was born / To the collective of the dawn / They were planting seeds at night / To grow a made-up paradise / Where the truth was auto-tuned (Forever cult) / And its sadness I consumed (Forever cult) / Into my formats every day (Forever cult),” are paired with complex beats in the background to keep things interesting from the get-go. “Oil” features a nice cameo by Stevie Nicks, and has a great, pulsating bass line to set the stage for Albarn’s vocal croon. It’s a very 80’s, new wave type of song that takes me back to the days of the Walkman and bright clothing choices. Nicks’ contribution is small, but necessary, as she adds just the right type of mystique to the song.
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Today I’m thrilled to share with everyone the latest single from Hooray For Earth, called “Jatevee C.” On this sprawling cover, Hooray For Earth makes their mark on the music scene in a big way. I was also able to catch up with this artist to chat about his upcoming music.
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Today I’m excited to share with everyone the new single and lyric video from SWIMM, called “Talk To Me.” This psych-pop artist does a nice job of re-capturing the spirit of the 80’s, all paired with anthemic moments in the chorus. SWIMM shared:
I made a promo video for this song where I dressed as Jesus–getting a spray tan. I’m still figuring out why I did that, but I felt the inspiration for the song–being my ponderings about the polyamorous nature of nuns marrying Jesus–fit with modern LA dating styles and thus, Jesus would probably get his hair cut high n’ tight, get some flash tattoos, and make sure he had regularly scheduled spray tans. I hear Raya is awfully competitive, so our anointed one wouldn’t be playing games with these nuns–or maybe he would be? Or he would just identify as poly-something-or-other and it would all work out just fab.
The song comes from the band’s upcoming LP, Best Comedown Ever, out everywhere music is sold on August 10th.
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Today is a great day to share the new single from independent artist, Homeschool, called “Bound To Be.” Homeschool is the solo project of NYC-based singer/songwriter and actor Tom D’Agustino. On this great-sounding single, Homeschool blends pop elements with thrilling anthemic moments in a crowd-pleasing track. Homeschool shared that this single, “Blends all these different genres like electronic music, salsa beats, and indie rock, to show me that my music can be more than one thing – that it can be unfixed and fluid.” I was also able to catch up with this artist for a brief interview below.
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Like many people who grew up in the height of the Drive-Thru Records era, discovering new up and coming bands was a bit of a tricky science. For me personally, I found many new artists through punk rock CD compilations, surfing the web on AbsolutePunk, getting to a concert early to check out the openers, or by skimming through the pages of Alternative Press. So how did a band like The Movielife make it so easy to enjoy their music? The Movielife were a punk rock band in spirit, but their ability to mix in hardcore elements and make their concerts an experience made me a lifelong fan. Early songs like “Hand Grenade” and “Walking On Glass” were my first introduction to the band, and it made me backtrack through their earlier catalog to grab as much music as I could get my hands on.
The third full-length studio album from The Movielife felt like a momentous opportunity for them to stand out from the pack of Drive-Thru bands that began dominating the greater part of the decade. Forty Hour Train Back To Penn was recorded at Salad Days Studio with veteran producer Brian McTernan, and his fingerprints are all over this punk classic. The band released two singles from the set, “Jamestown” and “Face or Kneecaps,” however during the promotional cycle of the record, The Movielife decided to call it quits. This kind of derailed the intentions of Drive-Thru Records doing a bigger push for the LP, but the legacy that this band left behind is still felt today. The majority of the songs written on this record were by lead vocalist Vinnie Caruana and guitarist Brandon Reilly, and they would end up being the last ones standing when The Movielife released Cities in Search of a Heart 14 years later. Forty Hour Train Back To Penn tackles many situations head-on like fractured relationships, traveling on the road, and growing up, while still having an emotional element to each track to showcase the band’s collective growth as people and musicians.
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Today is a great day to share the latest album from Mothlights called Walking the World With A Leaky Umbrella. Mothlights come from the mind of Rishi Gupta, who also owns the label Strawberry Moon Records. This DC-based artist would be perfect for fans of Julien Baker and Low. Gupta shared:
More than once was a guitar take on this record interrupted by the sound of an armored police vehicle rolling past my window in mid 2020, and more than once did I give up recording a vocal take after yet another news buzz on my phone left me exhausted. I feel like we all feel it, seeing it on our screens, before our eyes and in the way it’s affecting our personal behaviors. Rising global fascism, rising tides: we’re in the end stage now. I’m still reckoning with the fact that we will never get the pre-COVID world back and how this new world was born from that one. Being terminally stuck in my 700 sq ft apartment for two years in downtown DC amidst all of that was pretty rough as I was writing and recording this album, so I retreated heavily into fantasy. Almost all of the songs are informed by what was going on around me contextually but set in this surreal other place I had retreated to. I tried to let the quarantine, the Floyd uprising, the loss and declining health of loved ones and the wave of reaction bleed into this completely hypothetical folk music from some place I made up in my head.
Welcome to the world of Mothlights.
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