Drummer Darren King discusses Mutemath’s new sound and distinct approach to creating Odd Soul, working with no outside influences for the first time, the importance of trust among bandmates, and his religious upbringing.
Patrick Stump opens up about his new solo career, the challenges of finding his own voice, being comfortable as a musician, and the past and future of Fall Out Boy.
Mat Kearney discusses the different directions he took on his new record Young Love, including working with more beats and trying to get back to a youthful innocence.
This review was originally published on AbsolutePunk.net on June 5th, 2011. It’s been ported to Chorus.fm exactly as it existed the day it was published.
If you’ve ever seen The Wonder Years play a live set, you can probably agree with me when I say the Philadelphia-based sextet puts on quite an enjoyable performance. But as good as their live shows are, those only last one night.
Frontman Daniel “Soupy” Campbell, along with bassist Joshua Martin, guitarists Casey Cavaliere and Matthew Brasch, drummer Michael Kennedy and guitarist/keyboardist Nick Steinborn, are also well-known for giving their fans tons of attention, from hanging out before and after shows to posting on this website. But those interactions only last a little while.
Dallas Green talks about City and Colour’s third record Little Hell, why his writing style is so personal, how connecting with music changes as you grow older, and his constant battling with self-doubt.
Keyboardist Chris Freeman talks about the conceptual progression behind Manchester Orchestra’s third album Simple Math, the different natures of the group’s sound, and staying true to what you like.
Sims dishes on his new record Bad Time Zoo, the time he quit rapping and was forced to revaluate music, the isolating aspects of technology, turning the mirror on your own hypocrisies, and always being plugged into the here and now.
Drummer Spencer Smith ties up some loose ends about Panic! at the Disco’s third album Vices & Virtues, explains how the recent lineup change has redefined the duo, and recalls the perspective of blowing up at an early age.
Frontman Daniel Layus discusses the expansive process behind Augustana’s self-titled album, how growing older has affected his writing, getting more in touch with early influences, and life on a major label.
Bassist Joe Principe talks about the Rise Against’s sixth record Endgame, the challenge of keeping things fresh, being inspired by the military, and how punk rock originally gave him the courage to speak out.
Vocalist/guitarist Sherri DuPree-Bemis shares the highs and lows inside Eisley’s third record The Valley, the cathartic nature of songwriting, and how having the right people around can help you make it through anything.
Frontman Anthony Raneri discusses Bayside’s new record Killing Time, waiting for the beauty in life to happen, never feeling like he’s truly arrived, and debates honesty versus celebrity in pop music.
Chris Carrabba takes a look back at his first album for the 10th anniversary of The Swiss Army Romance, remembers his time in Further Seems Forever, explains why he’s never set out to write a hit, and updates what’s next for Dashboard Confessional.
Andrew McMahon gives an inside scoop into writing and recording the upcoming third Jack’s Mannequin record, the Something Corporate reunion, Dear Jack Foundation’s continuing efforts to fight cancer, and how his life has finally started to come into focus.
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.
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.
Bassist Sergio Vega talks about the bittersweet emotion of joining Deftones, the rejuvenating jamming sessions for Diamond Eyes, and the organic nature of music.
This review was written in 2009 and originally published on AbsolutePunk.net. It has been very minimally edited before being republished.
Quick note to the rest of the albums coming out this year: The bar has just been set.
Over the years there have been a select group of artists that have become so well respected within our community that they have reached almost hallowed ground. Their recordings are considered by some as the pinnacle achievement of what our little music scene can create. These bands top many “all time favorite” lists – and even years later their influence and replayablity dominate the eardrums. I’d like to present to you the next candidate for admission: Manchester Orchestra.
This review was written in 2007 and originally published on AbsolutePunk.net. It has been very minimally edited before being republished.
Let us face the facts: not many music critics want to admit to liking pop-punk. Not even I, the great pop-punk apologist, can say the negative connotation associated with the genre is undeserving. Think about it – from the young and extremely vocal fans, to the piled on guy liner, to the outrageous media stunts – it’s easy to see why the genre has become the leper colony of the music world.