Review: The Darkness – Permission To Land

Adam Grundy

Flash back to the year 2003. Emo and punk bands are gaining traction in the mainstream in a way that had never been seen before, and hair metal bands seemed to be all but forgotten. So what was a band like The Darkness to believe in when record labels seemed largely disinterested in signing a band that was such an unashamed throwback to the 80’s hair metal era? The Darkness stormed onto the music scene in the fall of 2003 with a single that made major traction called “I Believe In A Thing Called Love.” The music video was hilariously ridiculous, but the music that accompanied it was a blast of guitar-driven rock & roll that sounded different than anything else on the radio. The single did so well in the United States that the band was able to book a headlining tour of major clubs that largely sold out across the country. The beauty of The Darkness’s debut, Permission To Land, was that the band never took themselves too seriously, and was willing to go all out in their love for the hair metal genre, and re-capture the spirit of the 80’s in an entirely different decade.

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Review: Mercy Music – What You Stand To Lose

Adam Grundy

The fourth full-length record from alternative rock band, Mercy Music, shows a lot of growth in the band’s musicianship, and is filled with slick hooks, rip-roaring guitar solos, and accessible vocals that make you want to join in on the fun. What You Stand To Lose finds the Las Vegas-based band tinkering with their punk rock roots and they have made an album worthy of your time. The set of songs was produced by Bill Stevenson (Black Flag, Descendents) and mixed by Jason Livermore (NOFX, Hot Water Music), and it tackles relatable themes like heartbreak, trusting yourself, and refusing to conform to the status quo. Lead singer/guitarist Brendan Scholz shared, “”What You Stand To Lose is about coming face to face with one of your worst fears, learning from the experience, and hoping you come out the other side a better person.” With a sound that strays somewhere between The Explosion, The Ataris, and The Bouncing Souls, Mercy Music may have just made your next favorite album to add to your collection.

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The Eras Tour: Taylor Swift’s Greatest Love Song

Taylor Swift
Garrett Lemons

The cynical view of Taylor Swift’s The Eras Tour goes something like this: let’s take a cash grab tour of her past lovers and public debacles through songs that may have changed genres two or three times, but all sound the same. (They don’t.)

The critical view goes something like this: after mastering country, pop, and indie, are we looking at the next all-time great? (Ignoring the fact that, if she were a man, she’d already be lauded as being there.)

The delusion fan view goes something like this: Is this algebraic formula an Easter egg? (No.) Taylor Swift is for the girls, gays, and theys and straight men shouldn’t be allowed at the tour. (This is exhausting.) I bought all four versions so I could have a clock. (Okay, this one is more on Taylor’s incredible mind for capitalism; but, c’mon folks, it’s the same record. You only need one copy.) Etc.

Somewhere in the middle of this wild and inaccurate Venn diagram of discourse is the truth: we are witnessing something not quite before seen in history. Taylor has achieved something not seen in decades: monoculture. She’s the zeitgeist. Everyone seemingly has something to say about it. Including me.

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