Keyboardist Joe Lester talks about the new direction Silversun Pickups took on Neck of the Woods, its psychological underpinnings, writing longer songs, and why there’s no bonus to being on a major label anymore.
“Ah, so you’re into that whole twinkle daddies thing.”
Huh?
“You know, this style of music that’s overtaking local basements and garages over the nation.”
Uh, come again?
This is a conversation I had with someone on Facebook after gushing about You Blew It!’s Topshelf debut Grow Up, Dude. Last.fm informs that it’s “Those emo-ish bands with the twinkly guitars and the hoarse vocals. Twinkle daddies.” Okay, I guess that makes sense. While I insist that the name for this genre of music is incredibly stupid, the music coming forth is definitely not. The genre has churned out some great under appreciated acts such as Grown Ups, Snowing, and The World is a Beautiful Place & I am No Longer Afraid to Die, but it’s the Orlando, Florida quartet who seem poised to break out in 2012.
Read More “You Blew It! – Grow Up, Dude”
Greg Laswell discusses his latest album Landline, the desire to break away from writing sad songs, marriage with Ingrid Michelson, and not having a career backup plan.
Keyboardist Andrew Dost chats about the making of Some Nights, fun.’s recent shot to stardom, and maintaining a high degree of integrity in everything you do.
Despite playing a genre of music that seemingly died out years ago (as evidence of many of their peers from the early 2000’s emo-pop boom having gone the way of the dodo bird), The Used have found a way to remain relevant within the scene, as they possess some of the most die-hard fans I’ve ever encountered. It probably helps that their first two albums are revered by fans and non-fans, and, despite releasing a pair of duds since then, The Used are still able to stir up a lot of anticipation and debate whenever they’re about to release a new album.
But after releasing the poor Artwork in 2009, the band parted ways with Warner Bros. Vocalist Bert McCracken has gone on to say that Artwork is his least favorite album and directed some of the blame towards the band’s former label for meddling with it. Now three years since, their fifth studio album, Vulnerable, is the result of the band having 100% creative control for the first time in a long time, releasing the album collaboratively between their own label, Anger Music Group, and indie power Hopeless Records. McCracken stated that Vulnerable is a direct response to everything surrounding the band’s last release and is his favorite Used record ever. Those are pretty bold words and while I don’t agree with them (I’ll rep the self-titled release till I die), Vulnerable is definitely the band’s best and most versatile release since 2004’s In Love and Death.
Read More “The Used – Vulnerable”
Joyce Manor are a very interesting band. That may seem like lazy reviewing, and it probably is, but after putting to e-paper my thoughts over 350 times (sad and lonely brag), saying something like, “Band X actually do something creative and memorable,” starts to take on quite a bit of weight. And that’s what I can’t help but think when singer Barry Johnson cuts through with his somehow apathetic yet forceful voice. It’s also what I think when an early 2000s-ish punk influenced pop-punk band records a searing and catchy cover of “Video Killed The Radio Star.” Of All Things I Will Soon Grow Tired is just completely enthralling.
Read More “Joyce Manor – Of All Things I Will Soon Grow Tired”
You can always go back home, but nothing is exactly the same. Say Anything’s sixth studio album Anarchy, My Dear is the band’s first release on an indie since leader Max Bemis released the scene classic …Is A Real Boy in 2004. After achieving mild success with the two albums in between on RCA/Sony, Bemis and company find themselves back in the familiar company of a major indie label, this time being Equal Vision. They also enlisted the production services of Tim O’Heir, whom oversaw the IARB sessions, thus including a comfort level that may not have been present during 2009 self-titled release.
But just like when you return home after all those years at college, things are different. People change, environments shift, and you grow and mature as a person. This can be directly applied to Bemis, whom, since Is A Real Boy, has matured not only as a songwriter but as a person. He’s happily married to Sherri DuPree, drugs are out of his system, and his outlook on life has changed. Basically, everything doesn’t suck as much as it did when he was writing that life-changing album. After a while all the self-loathing can be quite the drag, and Bemis is more aware of this than ever.
Read More “Say Anything – Anarchy, My Dear”
This is not the year of the party crasher.
If you were expecting Every Time I Die to supply you with this year’s latest batch of party jams, think again. Sure, Every Time I Die has never been one to write a bunch of “happy” songs, but don’t expect the likes of “We’rewolf” or “The New Black” to appear on their sixth studio album Ex Lives. Front man Keith Buckley was out of his comfort zone while penning the lyrics to Ex Lives. Stuck overseas touring with his side project The Damned Things, Buckley, disappointed and angry, wrote from the perspective of past lives (thus the inspiration behind the album’s title), wondering if he was an awful human being in a past life and it was karma that was kicking him in the ass.
Read More “Every Time I Die – Ex Lives”
Frontman Michael Shepard chats about Lovedrug’s progression on Wild Blood, the process of falling in love with music again, and staying off the beaten track without a record label.
Around the time The Format was about to release their final record Dog Problems, lead man Nate Ruess wrote a very lengthy and impassioned blog about not succumbing to the pressures from the big labels to tweak his band’s music to sell more singles. It resulted in a fantastic middle finger salute towards the industry (“The Compromise”) and Ruess gained heaps of praise and respect for his integrity.
So maybe that’s why fans will be initially shocked by Fun.’s second album (and Fueled by Ramen debut) Some Nights. But the more you listen to and dig into the album, the more you’ll realize that the manifesto that Ruess wrote nearly 6 years ago still rings true throughout. Ruess is still writing what he wants without any outside pressure, albeit this time it was something fans weren’t completely expecting.
Read More “Fun. – Some Nights”
I’ve been having a horrible time
Pulling myself together.
I’ve been closing my eyes to find
The old familiar failures.
I’ve been closing my eyes to find
Why all good things should fall apart.
So begins The Menzingersʼ latest record, the sweeping, driven, masterful On the Impossible Past. Those lyrics come from the opening (and essentially introductory) “Good Things,” a short song that starts calm before the guitars and vocals tumble into an avalanche of power. As we have come to expect from the band, which is following the phenomenal Chamberlain Waits, anthemic sing-alongs provide a vessel for thought-provoking lyrics.
After exorcising past demons and embracing new directions on their stellar 2011 release The Valley, Eisley decided to go back to their roots somewhat (while taking some of that new found edge on The Valley) on their brand new EP Deep Space. Recorded and produced by the band (along with engineer/mixer Andy Freeman) in their hometown of Tyler, Texas, the DuPree clan (Stacy, Sherri, Chauntelle, Garron, and Weston) were inspired by the works of sci-fi novelist Ray Bradbury and turned a five-song EP into a remarkable love story set in space that fully enraptures you.
Read More “Eisley – Deep Space”
For a while there, I thought we had lost Hit The Lights to the pop-punk abyss. After garnering a dedicated fan base due to their first two contagious full-lengths, the Lima, Ohio quintet signed to a major label expecting to get their brand of catchy anthems out to a wider audience. Instead, they were on the Universal roster for about the length of a Kim Kardashian wedding. After that, HTL kind of disappeared until late 2011 when Razor & Tie announced they’d sign the group and released a 3-song teaser EP. Enlisting the services of producer Mike Sapone, the three tracks on the EP featured a change in direction for Hit The Lights and perked up some excitement for their late January release.
Read More “Hit the Lights – Invicta”
t’s safe to say the last time we heard from The Jealous Sound – whether that was on 2008’s too-short-but-sweet Got Friends EP or on their now-classic 2003 LP Kill Them With Kindness – we were all different people. (And if the last you heard of Blair Shehan’s gravelly pipes was on a Knapsack album, well, how are your kids and/or grandkids?) Whatever. Point is, it hasn’t so much been a wild ride, but a slow, meandering one. The fact that this release is even coming out is in and of itself sort of a punk-rock miracle. And the fact that A Gentle Reminder (GET it?) packs the same post-midwest-emo-blah blah as the band’s earlier landmarks is even more special. 9 years may have passed, but not a step has been missed.
Read More “The Jealous Sound – A Gentle Reminder”
This best of list was put together by the AbsolutePunk.net staff in 2011. It used an old system for ranking albums, but has been brought over to Chorus.fm for posterity.
Read More “AbsolutePunk.net’s Top Albums of 2011”