Review: Middle Kids – Today We’re The Greatest

Adam Grundy Mar 23, 2021

You would be hard pressed to find a harder-working band out there than Middle Kids. The band, comprised of vocalist/guitarist Hannah Joy, bassist/producer Tim Fitz, and drummer Harry Day shine throughout this collection of songs that find them at their most confident. Today We’re The Greatest feels more like a badge of honor or a playful mantra for the band to acknowledge that they are at the top of their game, and are still having a blast dedicating their talents to their craft. Coming off of a stellar debut in Lost Friends, and an EP of New Songs For Old Problems to tide their fans over in the meantime, Middle Kids had a lot of momentum breaking in just the right way for their proper sophomore follow-up record. These 12 songs are deeply authentic, personal, and only further showcase the courage the band has in stepping into the role of a breakthrough artist.

Adam Grundy Mar 17, 2021

The Brooklyn-based indie pop band, Record Heat (formerly Spirit Animal), are back with a new EP called 1. For those unfamiliar with the group, they are right in the same vein as bands like AWOLNATION, Portugal. The Man, and Glass Animals. This collection of three new songs expands upon the thematic elements introduced on their full-length debut (2018’s Born Yesterday) and offers a playful take on their genre-bending songs that are otherwise hard to define. The band is poised and ready for taking the next steps in their evolution towards making a mark on the music scene.

Adam Grundy Mar 3, 2021

With the first taste of new music from Mikey Way’s synth-tinged project Electric Century in five years, Way clearly had lofty expectations for what this band was capable of creating. The band, comprised also of Sleep Station vocalist David Debiak, released their debut For the Night to Control in 2016 and started to build momentum through word of mouth. While the band never toured on their debut material, Way tinkered with the idea of creating visuals behind the music and story. This self-titled effort is also released in conjunction with a comic book of the same name that provides lush visuals and a tale of a character named Johnny Ashford who gets in trouble with driving drunk. The character then begins seeing a hypnotherapist who recommends he go to his “happy place” of the Atlantic City boardwalk, where he stumbles upon a casino named Electric Century. The accompanying album of the same name dabbles into some of the same thematic elements presented in the comic, and makes for a great “guide” to understand the material. This record, much like its predecessor, relies on electronica-styled production to welcome everyone back into the world of Electric Century.

Adam Grundy Feb 25, 2021

The latest single from singer/songwriter and composer Ethan Gold explores the unique vibes that two cities brought out in him. The Los Angeles-based musician made his solo debut in 2011 with Songs from a Toxic Apartment, and Gold has also brought his unique approach to songwriting in film scores such as 2019’s Don’t Let Go. Gold’s next solo album is entitled Earth City 1: The Longing and will be released everywhere music is sold on May 14th of this year. The stark contrast between the two singles only speaks to the ability of Gold to convey a wide range of emotions in his music.

Adam Grundy Feb 22, 2021

O.A.R. (short for Of a Revolution) has always been an important breakthrough band in my hometown of Montgomery County, Maryland. The band formed in 1996 in Rockville, MD with the original members of lead vocalist/guitarist Marc Roberge, drummer Chris Culos, guitarist Richard On, and bassist Benj Gershman. After the modest success of their first two albums (The Wanderer, and Soul’s Aflame), which was built off of a strong word-of-mouth and relentless touring, the band set to record their first major stamp on the music world with Risen produced by John Alagia (Dave Matthews, John Mayer). Much to the band’s surprise, and label’s delight, the record debuted at #11 on the Billboard “Internet Sales” and #66 of Billboard’s “New Artists” Charts respectively. It was becoming clearer that the “local band” was poised for big things, as this record would open the door for multiple major label offers. O.A.R. have recorded eight studio albums to date and still continue to play to large crowds all across the world due to their energetic live shows and armed with a discography of well-known songs. Risen features three re-recorded songs from their sophomore effort, Soul’s Aflame and one from their debut, The Wanderer. This set of songs are still widely used in their live sets, and feature some of their longtime fans’ favorite tracks.

Adam Grundy Feb 12, 2021

The debut album from Left Field Messiah is a glorious throwback to the 70’s psychedelic era of music, and the band are on the right track for making a bold opening statement. LFM is comprised of Steve Bays (Hot Hot Heat), Jeremy Ruzumna (Fitz & The Tantrums) and Erik Janson (formerly of Wildling), and In Praise of Bombast blends each of their unique musical backgrounds into an interesting sound that is difficult to pin down to one genre. We recently premiered their last single for “Fuzz Machine,” that features some mind-bending visuals that provide the background to the soundtrack of their eclectic music that never follows the traditional norms of what rock music is supposed to be. In fact, Left Field Messiah are comfortable with stretching the imagination of their listeners as they take every opportunity to paint with vivid colors in their first major artistic statement.

Adam Grundy Feb 11, 2021

The third studio album from Run River North is an eclectic mix of songs that range from the stylings of similar Alt Rock bands such as Foster The People, JR JR, and Glass Animals. This latest record, Creatures In Your Head, will be independently released tomorrow and features some of their most unique songs to date. The band is comprised of Alex Hwang, Daniel Chae, and Sally Kang, and their band chemistry is undeniable. This breezy set of 10 songs is filled with interesting compositions that are sure to stick in your mind for days to come.

Adam Grundy Feb 5, 2021

On the 10th studio album from Foo Fighters, they clearly are having a blast. Their latest record is called Medicine At Midnight and is one of their most accessible albums to date. The nine song set clocks in 37 minutes and was produced by Greg Kurstin and the band as well. While the past few Foo Fighters records never had a long lasting impact with me, Medicine At Midnight is one of those “lightning in a bottle” type of moments that feels like something important right from the first listen. In recent interviews, Foo Fighters front-man Dave Grohl likened the direction of this album to David Bowie’s Let’s Dance record by stating, “It’s filled with anthemic, huge, sing-along rock songs. It’s almost like a dance record—not like a EDM, disco, modern dance record. It’s got groove, man.” It’s hard to not share the same optimism for the record after hearing these tracks that are filled with vibrant pop elements that are still fully enriched in Foo Fighters’ long history of making solid rock songs.

Adam Grundy Jan 29, 2021

Of all the band members in My Chemical Romance, Frank Iero has arguably been the busiest since the band originally disbanded. With three full-length solo records and a handful of EPs to his name, the latest version of Frank Iero’s project is called Frank Iero and the Future Violents. On Heaven is a Place, This is a Place he has constructed a series of songs emboldened in passion. On this EP, Frank Iero also enlisted some key band members (Evan Nestor <guitars>, Matt Armstrong <bass>, Kayleigh Goldsworthy <piano, organ, violin> and Thursday drummer Tucker Rule) to help with his vision for his music. The result is a collection of songs that sound as immediately gratifying as anything yet released in Iero’s solo career to date.

Adam Grundy Jan 26, 2021

Taking a look back at the breakthrough record from The Decemberists called The King is Dead brings back a flood of memories about what was going on in the music scene at that time. It seemed as if indie rock and folk rock were merging forces to become the new “it” genre that music fans, and critics alike, couldn’t get enough of. Bands such as Mumford & Sons, The Lumineers, and The Decemberists were gaining momentum at just the right time. This album would be The Decemberists first album to chart at the top of the Billboard 200, and the opening single “Down By The Water” also experienced success on the Modern Rock chart as well. Prior to this album’s release, front-man Colin Meloy stated in an interview, “If there’s anything academic about this record, or me trying to force myself in a direction, it was realizing that the last three records were really influenced by the British folk revival […] this whole world that I was discovering, that I was poring over, learning inside-out. It was a wanting to get away from that. And looking back into more American traditions, reconnecting with more American music.” By getting more in-tune with these American traditions and stylistic choices on found on this album, The Decemberists were able to release their most successful and accessible record to date.

Adam Grundy Jan 22, 2021

The sophomore album from Chase Tremaine called Development & Compromise is truly a labor of love, as much as it’s a thorough exploration in what it means to find your place in this crazy thing called life. The album was recorded over a ten-day span, and was produced, engineered, and mixed by Sean Power at the Hilson Studio. Whereas Tremaine’s debut (Unfall) took an introspective look at his search for finding his “true north,” this album expands upon these thematic elements with a more universal approach to investigating the human element of life with rich musical landscapes. While not as immediately gratifying as his debut record, Development & Compromise rewards the listener on repeat listens as you dive headfirst into everything Tremaine has set forth on this comprehensive album.

Adam Grundy Jan 19, 2021

The latest taste of new music from Beach Bunny comes in the form of an eclectic group of tunes called Blame Game. Their first full-length record, Honeymoon, found its way onto several “Best of 2020” lists, and it seemed as if the young four-piece indie rock band from Chicago, Illinois was steadily gaining confidence knowing that they would be releasing music with more eyes clearly focused on them. Beach Bunny were poised for this moment, as they released some of their most steadfast songs to date on this EP.

Adam Grundy Jan 6, 2021

The latest EP from Cold Weather Kids was created in the midst of the on-going pandemic, so it seemed only appropriate to tag this latest collection of songs with the Quarantunes moniker. With a mix of styles in the same vein as Bayside, Pierce the Veil, and the pop sensibilities of AJR, the band have continued to explore the possibilities of their unique brand of pop-punk. The record was mixed by Nick Radovanovic (Stand Atlantic, Grandson) and mastered by Justin Perkins (Screaching Weasel), who both put stamp on these three songs that have some interesting moments to them.

Adam Grundy Dec 14, 2020

The world needs more bands like Foxy Shazam. With their unique blend of charisma and theatrics in their music, there isn’t a single uninteresting moment on their latest LP called Burn. The band has always had a flair for the theatrical and glam elements of the 70’s rock era, but they really go for their full-fledged modern take on that era of music with their latest album. With some songs teetering on the edge of Queen, to David Bowie, and Led Zeppelin all thrown into the mix, the band is more than capable of creating a record that pays direct homage to past artists, while still making the end result feel fresh for newer audiences. Their eccentric front-man Eric Nally took the majority of the songwriting and vocal duties on the album, but there is plenty of new elements to Foxy Shazam’s evolution as an artist. The album was recorded remotely with members of the band working in three different studios, yet the end product feels as cohesive as if the band were in the same room creating this music simultaneously.

Adam Grundy Dec 3, 2020

2020 really is the year of the female artist, isn’t it? From Taylor Swift releasing arguably releasing the most pandemic-appropriate album we could have ever hoped for, to Dua Lipa knocking us on our ass with some perfectly crafted dance-pop bliss, and Phoebe Bridgers earning several well-deserved Grammy nominations for her work, everything seemed to be shifting towards rightfully recognizing female artists for their contributions to music. Enter Miley Cyrus who has delivered a raucous collection of rock-tinged pop songs known as Plastic Hearts to close out the year. Usually albums released this late in the year fall under the radar, as every publication seems to want to rush out their year-end lists before December even sees the light of day. Plastic Hearts is definitely one of those breathtaking moments of recognizing great pop music from an artist beginning to realize her rock prowess at just the right time.

The record launches with the bratty, punk sneer of “WTF Do I Know” where Cyrus establishes herself firmly in the rock genre with a pulsating bass line and cranked up guitars. Cyrus explains her state of mind in the chorus as she sings confidently, “What the fuck do I know? I’m alone / Guess I couldn’t be somebody’s hero / You want an apology not from me / Had to leave you in your own misery / So tell me, baby, am I wrong that I moved on and I / And I don’t even miss you? / Thought that it’d be you until I die / But I let go, what the fuck do I know?” The track quickly fades away as we make our way into the title track where Cyrus sings over a tribal beat. She provides a little more insight on the change in gears of genres on the second verse as she sings, “Hello, I’ll tell you all the people I know / Sell you something that you already own / I can be whoever you want me to be / Love me now but not tomorrow / Fill me up but leave me hollow / Pull me in but don’t you get too close.” It’s almost as if Miley is telling her audience that she can be whatever persona that best suits her metamorphosis into a female rocker as long as we are there to accept her for who she is.

Review: Middle Kids – Today We’re The Greatest

Review: Record Heat – 1

Review: Electric Century – Electric Century

Review: Ethan Gold – Alexandria and Me / In New York

Review: O.A.R. – Risen

Review: Left Field Messiah – In Praise of Bombast

Review: Run River North – Creatures In Your Head

Review: Foo Fighters – Medicine At Midnight

Review: Frank Iero and The Future Violents – Heaven Is A Place, This Is A Place

Review: The Decemberists – The King Is Dead

Review: Chase Tremaine – Development and Compromise

Review: Beach Bunny – Blame Game

Review: Cold Weather Kids – Quarantunes

Review: Foxy Shazam – Burn

Review: Miley Cyrus – Plastic Hearts