What’s left to write about Blink-182? There’s no point to rehash the drama that Mark Hoppus and Travis Barker have with Tom DeLonge, nor is there any point to harp on the incredibly bizarre interviews and statements DeLonge has given the press lately. We’ve all ranked their discography a hundred different ways and chosen sides. I guess all we can really do now is talk about the music, right? It’s a development that I (and many others) will welcome. And, when we talk about the music, we’ll find that band’s seventh full length album, California, is probably the most classic Blink release since 2001’s double-platinum Take Off Your Pants and Jacket.
Review: The Hotelier – Goodness
Three months ago, Christian Holden, vocalist/bassist of The Hotelier, posted on the band’s Tumblr a very personal essay reflecting on how their last album, Home, Like NoPlace Is There, affected the band’s lives and how they were going to proceed in the future. The essay also featured Holden coming to terms with being a public figure and exploring trust, art, and “realness.” Somewhere in the middle of the post Holden writes, “And I think this is what bums me out about the wishy-washiness of rock music and performance. Realness is a treasure in life. I don’t want to see uncritical postured realness. I want transparency.” And, well, you can use that declaration as the thesis statement for The Hotelier’s stunning new album, Goodness.
Review: Modern Baseball – Holy Ghost
About halfway through “Note To Self,” the third track off Modern Baseball’s new album Holy Ghost, Jacob Ewald earnestly proclaims: “There will be no more fucking around today.” On this particular song it’s mostly about Ewald taking control of his life, but that line can be applied to the Philly quartet’s evolution as well. The band’s first two releases (Sports and You’re Gonna Miss It All) catapulted the band from humble beginnings into playing shows with punk stalwarts like The Wonder Years, The Menzingers, and Say Anything. This rise set them up as the premier band on Run For Cover’s roster. But there was also plenty of fucking around on those albums while they blurred the lines between pop-punk and emo. On Holy Ghost, there are no more assholes with iPhones or songs about Chloe’s Twitter handle. Rather, Modern Baseball’s third LP works as a split release – Ewald writing and leading the first six tracks while Brendan Lukens undertaking the last five. On the surface this may seem like a recipe for an uneven listening experience; however, Holy Ghost rolls through its eleven tracks beautifully while touching on topics like finding love, battling depression, fighting addiction, and coping with mental illness.
Review: Deftones – Gore
It’s been well-documented how tumultuous the nearly 30 year career of Sacramento rock band Deftones has been. From the tragic loss of original bassist Chi Cheng, to the in-fighting, to the passive approach the band took to recording their mid-2000’s records – it’s somewhat remarkable that Deftones didn’t break up years ago. Instead, the band has unleashed Gore, their most fascinating release since 2001’s breakthrough White Pony.
Review: Into It. Over It. – Standards
I know that the “six degrees of separation” is commonly linked to actor Kevin Bacon, but I think it’s time we made an exception to the theory and include Evan Weiss. Whether it’s through the seemingly hundreds of side projects he’s a part of (most recently Pet Symmetry and Their/They’re/There) or the handful of records he’s produced (ranging from bands like You Blew It! to Xerxes), it’s no wonder someone who’s definitely not me nicknamed the Into It. Over It. mastermind “the emo mayor” (consider this review my official apology for that, Evan). But a funny thing happened during the writing and recording sessions for his third album – turns out Standards isn’t an emo record after all.
Review: Mayday Parade – Black Lines
Out of all the bands I listen to, Mayday Parade has always been one of the most frustrating. Not because they can’t write pop-punk and pop-rock hits, it’s because the band has always been so close to writing a complete album that turns into one of the genre’s essential listens. After Jason Lancaster departed the band following the release of fan-favorite A Lesson In Romantics, Mayday Parade has had its collection of hits and misses; always close to that career-defining release but just never putting it all together. That all changes with Black Lines.
Read More “Mayday Parade – Black Lines”Review: Joyce Manor – Never Hungover Again
The first rule of listening to Joyce Manor is not turning Joyce Manor into a quote unquote big deal. In a culture that’s always so eager to deem something the “next big thing,” it’s only natural that bloggers and journalists alike have turned their ears and eyes towards the Torrance, CA quartet. But here’s a new flash – Joyce Manor only wants to play super-catchy punk in super-efficient bursts of auditory ecstasy. The band isn’t here to defend pop-punk, revive emo, or save rock and roll – rather Joyce Manor just wants to have a good time, play some solid tunes, and maybe have an adult beverage or five afterwards.
Read More “Joyce Manor – Never Hungover Again”Review: Every Time I Die – From Parts Unknown
From Parts Unknown is Every Time I Die’s seventh full-length, yet it comes out of nowhere like a debut – feeling desperate, ferocious, and raw. You can attribute that feeling to producer (and Converge guitarist) Kurt Ballou, whom undoubtedly challenged and pushed the veteran band to the limit at Godcity Studios. Enlisting a producer of Ballou’s stature could only mean one thing regarding LP7 – a complete deconstruction of metalcore’s status quo. From Parts Unknown is stuffed with various twists and turns and sudden stylistic changes – tastefully mixed in with absolutely brutal compositions and utterly bleak lyricism.
Read More “Every Time I Die – From Parts Unknown”Review: Tigers Jaw – Charmer
Something funny happen while every blog and fan prematurely buried Tigers Jaw – the Scranton, PA quintet-turned-duo recorded their best material yet. On some March afternoon last year, the band released a statement regarding the departure of three members and the immediate cancellation of Tigers Jaw upcoming North American tour. Because the announcement came out of nowhere and gave very little details on the present or future status of the band, many assumed it was the end. Instead Brianna Collins and Ben Walsh decided to carry on. And with a little help from their former bandmates (Pat Brier, Dennis Mishko, and Adam McIlwee) and producer Will Yip, the end result of this strange journey being Charmer, Tigers Jaw fourth full-length and most well-rounded album to date.
Read More “Tigers Jaw – Charmer”Review: Taking Back Sunday – Happiness Is
You can describe the Taking Back Sunday fandom by imagining a simple Venn diagram: one circle contains fans who only enjoy the Tell All Your Friends version, the other full of fans that prefer the band’s major label output (Louder Now and New Again). And then there’s the small intersection of fans who prefer a little bit of everything from Taking Back Sunday’s vast and diverse discography. You can see why the majority of TBS news threads are littered with hundreds of differing opinions.
The band’s sixth record, however, looks to bring those two sides together. Happiness Is is Taking Back Sunday’s first independent release in almost ten years (via Hopeless Records) and delivers that indie spirit throughout its eleven tracks. That energy is immediately felt on opening single “Flicker, Fade.” Clashing cymbals and soaring guitar chords are the backdrop as Adam Lazzara softly sings, “If you should change your name/I’d love you just the same/and if you’d run away/I’d save your place.” It’s oddly comforting, with its eruptive and incredibly catchy chorus sandwiched with the band’s mastery of soft/loud/soft dynamics. It also re-introduces John Nolan and Mark O’Connell back to the mix. Both musicians seemed lost in the overall recording of Taking Back Sunday, and on “Flicker, Fade,” Nolan delivers his impassioned yells (which buoy the song’s chaotic outro), while O’Connell’s raucous drumming gives the track (and the rest of Happiness Is) its spine.
Read More “Taking Back Sunday – Happiness Is”Review: Against Me! – Transgender Dysphoria Blues
Transgender Dysphoria Blues is the record Laura Jane Grace has been screaming to get out for many years. Two May’s ago, the Against Me! front woman revealed her lifelong struggle with gender dysphoria and came out as a transgender woman. After a flurry of press and support followed by a desolate and bleak recording process that almost killed the band rises an album that shuts out all the white noise and delivers the best Against Me! album ever. Laura Jane Grace has a lot to get off her chest, so it’ll be best if you give one of the most essential punk records of our era your full and undivided attention.
Read More “Against Me! – Transgender Dysphoria Blues”Review: You Blew It! – Keep Doing What You’re Doing
Revival my ass. Sure, there has been a handful of think pieces and reviews lately about the “reemergence” of emo from the type of music journalist who jumps from trend to trend (or hashtag to hashtag) but honestly any fan from the scene already knows that 1. emo never went away (or will go away – just check the AbsolutePunk.net homepage the last ten years) and 2. Florida’s You Blew It! have been cranking out emo-flavored pop-punk jams over the past four-plus years, as the group’s latest album, Keep Doing What You’re Doing, expands on the band’s so-called “1999” sound.
Hell, it was only two years ago we jokingly gave this style of music the absurd moniker “twinkle daddies.” But You Blew It! has emerged from 2012’s Cap’n Jazz-influenced Grow Up, Dude and last winter’s split with Fake Problems louder and bolder with Keep Doing What You’re Doing. Produced by Emo Mayor Evan Weiss, YBI!’s knack for loud, dissonant power chords boom throughout the record without its essential fuzziness being compromised. In fact, the production is very reminiscent of Weiss’ 2011 release, Proper, a record that did a bang-up job of balancing its stripped-down, raw moments with the louder, more frenetic ones while remaining sonically pleasing. “Match & Tinder” is a callused, aggressive opener that twitches between the rough anguish of vocalist Tanner Jones’ rasp and the wistfulness of Andy Anaya’s frantic guitar work. The pop from Timothy Flynn’s relentless snare drum paces “Award of the Year Award”’s driving heaviness as an exasperated Jones yells, “Consider me a friend, but only in the past tense.”
Read More “You Blew It! – Keep Doing What You’re Doing”Review: Mayday Parade – Monsters In The Closet
I’m not really into pop-rock music anymore. That might be a shock to the people who know me/follow me on Twitter, but it’s true – the oversaturation of the genre has really turned me off to the entire sound. Despite all of my preconceived notions about this style of music, Mayday Parade always seem to write an album that needles its way into my heart. I hate using the term “guilty pleasure,” so I’m not going to use here, especially on a band that just wrote 12 huge tracks on its latest release, Monsters In The Closet – an album built for arenas.
Now, I’m not saying the band has reinvented the wheel or anything – rather they’ve continued to refine and perfect the pop-rock sound so many fans fell in love with six years on A Lesson In Romantics. Vocalist Derek Sanders is still one of the most emphatic and charismatic front men today and he totally owns each of Monsters’ twelve tracks. “Ghosts” kicks off Monsters with Sanders singing a cappella (with the band harmonizing behind him) before kicking it into high gear. Drummer Jake Bundrick punctures through the dueling guitar riffs of Brooks Betts and Alex Garcia while Sanders carries the song’s massive hook. And honestly, nearly every song has a monstrous hook. “Girls” and “Repent and Repeat” go from zero to sixty in an instant (displaying the band’s pop-punk chops), while “Last Night For A Table Of Two” and “The Torment of Existence Weighed Against The Horror Of Nonbeing” (awesome Calvin and Hobbes reference by the way) showcase the continuous growth in the band’s songwriting (Betts and Garcia have really outdone themselves on Monsters).
Read More “Mayday Parade – Monsters In The Closet”Review: The Dangerous Summer – Gold Record
I bet you weren’t expecting to see this name on the byline. No doubt some, if not most of you have seen the tweets, posts, threads, etc. chronicling the turmoil of The Dangerous Summer between themselves, their fans, and sometimes this very website. And I’ll be honest – even a month ago I wouldn’t have believed I’d be writing the review for the band’s latest release, Golden Record. I’ve always been a fan of the band’s music (War Paint was in heavy rotation during the summer of 2011), but the antics and weird shit that went on turned me off to the band. But sometimes a simple post from the offending party can act as an olive branch and you reevaluate things. Hey man, music mends broken hearts and it can also rebuild bridges.
Read More “The Dangerous Summer – Gold Record”Review: The World Is A Beautiful Place & I Am No Longer Afraid To Die – Whenever, If Ever
Everything you need to know about Whenever, If Ever – the debut full length from The World Is A Beautiful Place & I Am No Longer Afraid To Die – is right there in the image gracing the album’s cover. It’s a snapshot of exuberance and carefree youth – the idea of jumping off a cliff into the unknown is met with I don’t give a fuck enthusiasm perfectly sums up the ten track record. Even the album title possesses that attitude.
Throughout Whenever, If Ever, The World Is A Beautiful Place & I Am No Longer Afraid To Die (you best believe I’m abbreviating the shit out of this name for the duration of this review) takes plenty of lefts in its music when you’re expecting rights. Post-rock tendencies are met with horns-aplenty and juxtaposed against incredibly catchy pop-punk-esque hooks. TWIABP’s thorough aggressiveness is exhilarating from beginning to end. The album’s sleepy intro, the two-minute “Blank #9,” is tasked with bringing what’s so endearing about TWIABP to life, as it leads into quirky guitar opening of “Heartbeat In The Brain” before the avalanche of instrumentation rushes into our ears.
Read More “The World Is A Beautiful Place & I Am No Longer Afraid To Die – Whenever, If Ever”