Singer-songwriter Joshua Radin discusses starting fresh on his third album The Rock and the Tide, the rush of recording live, the strange ways technology has affected romance, and why life is all about being open to trying new things.
For a while, things didn’t look too good. It’d been five years since Sufjan Stevens released Illinois, the second album in his 50 States project, and fans hadn’t heard any news on the project – or his music- until sometime in 2009, when Stevens announced he was done with the project. Let’s be real, we knew he probably wouldn’t keep up with it, but wouldn’t it have been nice to hear a New York or Kansas album? Even more troubling than the demise of his project was the revelation that Stevens was thinking about quitting. Publicly questioning the mere purpose of creating music since albums were becoming obsolete due to downloading, Stevens just seemed disillusioned and tired. Thankfully, he found it within himself to release the All Delighted People EP earlier this year, shortly followed by the announcement that his sixth proper album, The Age of Adz, would be releasing in the fall. But fans were blindsided once again by Stevens once Adz traveled into ear canals everywhere. The 50 States project wasn’t the only thing that got left behind this year, as Stevens’ brand of folk is nowhere to be found outside of the deceiving opening track (“Futile Devices”). Instead, Stevens has rebuilt himself and his music with new themes, glitchy electronics, booming drums, Auto-tune, and more.
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There has to be a plaque somewhere in Jimmy Eat World’s recording studio reading “With great power comes great responsibility.” A fitting mantra for more than Peter Parker’s web-slinging morality wars, when you’re one of the most dependable and profoundly influential rock bands on the planet, keeping your ears to the ground and never abandoning your legend is a heck of a responsibility. Harnessing their impeccable creative powers once again, Invented is a melting pot of Jimmy Eat World’s notoriously engaging rock music that showcases ample use of dedication, skill and intelligence over 50 minutes that will burn into your brain (with delight). Fight them off, they come back stronger. You can try to restrain the strength of Jim Adkins’ flawless vocals or even attempt to push the most talented rhythm section in alternative rock out of your way, but it’s no use. Jimmy Eat World has this down to a science and you would be hard-pressed to find this all much ado about nothing.
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Chiodos are certainly one of the most polarizing bands in the scene today. Having seen a large amount of success with their first two full-length albums All’s Well That Ends Welland Bone Palace Ballet, the ousting of frontman and lead singer Craigery Owens came as a shock to the outside world. From the inside though, it was clearly what the group thought was best for them. With Illuminaudio, their third release on Equal Vision Records, it’s clear that they’ve moved on and are setting their sights on bigger things than ever.
When Owens and the group parted ways, fans wondered how Chiodos would fare heading forth with new vocalist Brandon Bolmer (formerly of Yesterday’s Rising). There were a lot of opinions circulating that the group should change their name, as Owens’ vocal style and presence was what made the band so unique and distinguishable. However, the success that Chiodos saw with their first two releases was not universal, and a lot of members on this website had negative feelings towards Chiodos and Owens while they were at the height of their popularity. Now, with Bolmer, new drummer Tanner Wayne (formerly of Underminded and Scary Kids Scaring Kids), and original members Bradley Bell, Matt Goddard, Jason Hale, and Pat McManaman, Chiodos offer up one of the most intriguing records of 2010 with Illuminaudio.
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Frontman Jim Adkins discusses the process behind Jimmy Eat World’s seventh album Invented, writing songs from varying perspectives, why you shouldn’t censor yourself, and embracing your ideas, whether they’re good or bad.
Lead singer Stephen Christian discusses writing Dark Is the Way, Light Is a Place as a contradictory, coming-of-age record, working with producer Brendan O’Brien, the pressure-filled trials of New Surrender, and the weird side of Anberlin.
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What a strange two year (or so) journey it has been for one of the most promising bands in the scene, Springfield, Illinois’, The Graduate. After releasing their debut album Anhedonia to much fanfare and critical acclaim, their label, Icon Mes, folded, and the band found themselves without a home. After a short tour in late 2008, the band decided not to dwell on the label issue and began to work on new material. After a year and half of being label-less, Razor & Tie signed the quintet, bringing relief to fans that have waited so long for new material. And it is well worth the wait, as their second full-length, Only Every Time, is the sound of a band realizing their full potential.
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Bassist Sergio Vega talks about the bittersweet emotion of joining Deftones, the rejuvenating jamming sessions for Diamond Eyes, and the organic nature of music.
There’s something about The Colour Revolt’s music that has always been uneasy to listen to. It’s truthful and blatantly tears sutures across the walls of a secluded mind left alone with its innermost thoughts. Some beautiful. Some frightening. All real and passionate. The music also carries just as much of the weight as Jesse Coppenbarger lyrics. There’s Southern tinge and biblical proportioning of vocal phrasing and earnest attitude.
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Yellowcard are returning from hiatus. The band is currently recording a new album with Neal Avron (who will be producing and mixing the record). Big enough news, right? It gets better. The band will be releasing the album on Hopeless Records in the early part of next year. No tours are currently planned as the band focuses on finishing up the new album. The band will consist of Ryan Key, Sean Mackin, LP, Ryan Mendez, and Sean O’Donnell. More news will be coming tomorrow – so keep your eyes peeled here.
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There’s a lot of things I’d like to say about Lydia, but frankly I don’t think it’s any of your business. And that’s pretty much the point. Few bands create such personal connections within the framework of verse-chorus-bridge tunes. Luckily on Assailants, Leighton Antelman’s catharsis is strong enough for two. Here on the band’s final output, there is lots of reflection; a band doesn’t fall apart for no reason. But the logic within all this emotion is that we are included. The audience’s POV still reigns supreme. And I know that’s what I always say, but I always say it because I feel it’s the most important thing: we must be included. Lydia have written their final act, and we’re all the star.
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In 5 years All Time Low has skyrocketed to the forefront of the scene, going from Baltimore high schoolers to world tour headliners in no time. Last year the band released their third full length, Nothing Personal, which had an expansive yet defined sound. The band took a step back from up tempo pop punk anthems and instead chose to take a step towards stadium-filling pop rock hits. While this transition may have alienated fans, the band still seems to draw attention and excitement from the believers. When “Weightless” was released last March, AP.net was flooded with mostly praise and love for the band. It showed the band could produce a larger sound and still be real with who they are. That was what this band has always been about, and they have never lost that. But with all the good there is always going to be the bad as well. No one is perfect and ultimately four guys can’t please everyone.
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As I was strolling down the lonely search pages of AP.net, I came across the surprising, mildly disappointing realization that Fireworks’ All I Have to Offer Is My Own Confusion has yet to be reviewed here. Given the news of the phenomenal tour that Fireworks are going to kick off in late summer, I thought it appropriate to give one of the best debut pop punk full lengths of recent memory a write-up. Full of uplifting, earnest pop punk, Detroit natives Fireworks have nothing to hide. Taking after New Found Glory, their sound offers nasally vocals from Dave Mackinder which are kept afloat by furious instrumentation from Brett Jones, Chris Mojan, Kyle O’Neil, and Tymm Rengers. Mackinder’s distinctive voice and a style that yearns for stage dives have made Fireworks one of the central pieces in the group of young, up and coming bands that is sending shock waves through the pop punk circle.
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Man it must be nice to be Jack Antonoff. Between a dalliance with Scarlett Johanssen and cult-like status in the super group Fun, the New York City-based frontman is also the brain trust behind burgeoning indie juggernauts Steel Train. Veteran performers of Bonnaroo, Lollapalooza and Coachella the quintet are a much-praised, must-see live act who made a sizable dent with their 2007 full-length Trampoline. This year’s self-titled follow-up is a harmonic collection of 12 veritable anthems. Soaring, transcendent and deeply felt, it’s as good a disc as any released this year.
The band sets the tone exquisitely on the triumphant opening number “Bullet,” a tightly packed, four-minute pop masterpiece. Anchored by Antonoff’s confident vocals, its rising chorus is arguably one of 2010’s finest moments. If album openers are supposed to be introductory statements, then Steel Train has indeed made the declaration of the year. For those still not on the bandwagon, it’s time to step on and start taking this band seriously.
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Artform will never cease being a self-involved & possessive medium for any and all onlookers. One can’t help but draw their own experiences in order to relate to whatever it is they see or hear from any artist, whether it be a painter, musician or filmmaker. Part of including our own relation to a piece is referring to our historical worldview, always spotting influence & inspiration. A song lyric, a brush stroke or even part of a character’s outift — we’re bound to pick out what we recognize, making it easier as participants to relate to the artist’s motivation and our own perspective.
In five short years, New Jersey quartet The Gaslight Anthem have gone from punk rock bruisers to one of the most celebrated & prolific modern rock acts on the scene. Much of that success stems from the band’s ability to seamlessly weave influences into their music, both in terms of lyrical reference and overall sound. With their 2008 breakthrough, The ’59 Sound, music fans relished the opportunity to hear a large combination of influence from Bruce Springsteen and Elvis Presley, something that was heard not only through the raspy vocal charm of Brian Fallon, but also through a more traditional, old-school production (courtesy of Ted Hutt, who is also present on this record). Many of the themes and style were reminescent of 1950’s rock n’ roll, something the band used to their advantage. With their third full-length, American Slang, the distinction between individual art and influence continues to grow, offering everyone on board a chance to carefully sift through and pay tribute to the influential legends, all while concocting their own sound for the future.
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