In the years that followed the dissolution of the Marvelous 3, a 1990s one-hit wonder power-pop trio fronted by Butch Walker, Butch would often remark that his band was “15 years too late and five years too early.” After all, Walker and his bandmates—bassist Jayce Fincher and a drummer who was only ever known as “Slug” in the album liner notes (his real name is Doug Mitchell)—didn’t really fit in with the broody nineties crowd. There’s not a single iota of grunge in any of the three records Walker and the rest of the Marvelous 3 ever produced, nor is there anything akin to the boy-band/pop-princess radio fodder that was poised to take over the world as the decade and the millennium ground to a close. Instead, the guys in the Marvelous 3 were disciples of eighties hair metal and trashy pop-rock songs, with a fair amount of classic glam and singer/songwriter mentality thrown in for good measure. Those influences probably meant the band was straight fucked from the moment they signed with Elektra Records, a label that became known for screwing over similarly-minded pop-rock acts (Third Eye Blind and Nada Surf, for example) before they ran out of money and went bust in the face of the Napster revolution. But for a few years at least, the Marvelous 3 got to act like rock stars, and in the process, they produced three of the finest power pop records of the past 20 years. 1997’s Math and Other Problems was the first.
Read More “Marvelous 3 – Math and Other Problems”Review: Jimmy Eat World – Bleed American
Only after several years can you begin to notice the influence a record has had. Some may say it takes foresight to know whether a record will become legendary, but there’s no way to really predict something like that. For this Retro Review project, we’re reviewing records that are a minimum of 10 years old – and with Jimmy Eat World’s Bleed American celebrating its 10th birthday on July 18, I can’t think of a better place to start.
The “Class of ’01,” not to infringe on AltPress’ phrase or anything, is very impressive. Bleed American, however, might be my favorite record from that entire year, and it would certainly be on a list of my all-time favorites from the genre. Jimmy Eat World does have a sense of early-decade pop-punk on the album, but it’s infused with their now-unmistakable brand of angst-ridden emo, making it a pop-punk sound no other bands have successfully duplicated. Bleed American was the launching point for Jimmy Eat World’s commercial success as well, spawning multiple hit singles.
Read More “Jimmy Eat World – Bleed American”Review: Blink-182 – Take Off Your Pants and Jacket
How does one begin to measure the influence of a band like Blink-182? You can’t count how many garage bands were spawned after Enema Of The State came out. You can’t put a price on taking a relatively new genre and thrusting it into the mainstream with full force. Without Blink 182 and their peers like Green Day and The Offspring, and a little while later, bands like New Found Glory, where would pop-punk be? It quite possibly would never have even gotten started.
Read More “Blink-182 – Take Off Your Pants and Jacket”Review: Lifetime – Jersey’s Best Dancers
Once upon a time, somewhere in the swamps of Jersey, there existed a punk band that changed it all. I am speaking, of course, of Lifetime. Active first from 1990 to 1997, and then again beginning in 2005, Lifetime’s influence on what we call the “scene” today is impossible to understate. This album, as well as Hello Bastards, the one that preceded it, were influential to a variety of artists whose names you might recognize. Adam Lazzara of Taking Back Sunday has some of the band’s lyrics tattooed on his arm. Brand New lists Lifetime as “recommended listening” on their album Deja Entendu. The Gaslight Anthem references this album in their song “We Came to Dance.” Bands such as Rise Against, Silverstein and Fall Out Boy have recorded covers of their songs. The members of Thursday played some of their first shows with Lifetime, in Geoff Rickly’s basement. And then finally there is Saves the Day, whose debut album Can’t Slow Down comes as close as is humanly possible to imitating Lifetime’s sound without actual plagiarism.
Read More “Lifetime – Jersey’s Best Dancers”Review: Millencolin – Pennybridge Pioneers
Sometimes I wish I were like you, so why won’t you let me show who I am?
Eight years has passed since Sweden’s punk rock golden boys Millencolin have released their iconic full-length Pennybridge Pioneers, and looking back, we can see there is a certain tinge of irony lurking within Nikola Sarcevic’s self-deprecating lyrics (like the excerpt above from “Stop to Think”) that intersperse cold hard truths with dry, quirky humor.
Hailing from the Swedish town of Örebro (which translates quite literally to “pennybridge” in English), Millencolin rose to fame in the early 90’s as part of the skate punk revolution, quickly being snatched up and signed by Epitaph Records. With a new millennium came a new horizon for the band that had gained a fair amount of popularity and praise in Europe and Australia but had yet to capitalize on the success labelmates Rancid, NOFX, and The Offspring had found in America. Epitaph head (and Bad Religion guitarist/co-songwriter) Brett Gurewitz took the band under his wing and produced Pennybridge Pioneers, their highest selling album to date, taking them from outside their comfort zone in the rolling hills of Sweden to record in the rolling hills of Hollywood.
Read More “Millencolin – Pennybridge Pioneers”Review: Park – It Won’t Snow Where You’re Going
When a band includes a disclaimer in their lyrics booklet explaining that musical themes of suicide should not be acted upon by the listener, they must really mean business. I hear the phrase “summer album” thrown around often in connection to upbeat and poppy albums. In contrast, Park’s It Won’t Snow Where You’re Going is the kind of album needed for warmth through the coldest of winters. Though there is little to nothing that can be described as cheerful in vocalist/guitarist Ladd Mitchell’s lyrics, there’s something encouraging in screaming ‘Let’s give up / Let’s give in’ during times of personal strife.
Though his lyrics are one of the main draws to Park, Mitchell’s vocals are nothing extraordinary. There’s something humbling about this, though. It makes him an everyman, someone whose troubles are easy to relate to. With that being said, at certain moments on the album his voice does shine brighter than usual. There’s an unmistakable build up on the track “Pomona for Empusa,” and for a few moments before the chorus Mitchell conveys his current frustration excellently with the single lyric, ‘Jesus Christ, what was I thinking?’ This short pause is made even better with limited accompaniment by guitarist Justin Valenti, who dwindles towards lower notes on the fretboard as a representation of Mitchell’s sinking state.
Read More “Park – It Won’t Snow Where You’re Going”Review: Days Away – L.S.D.E.P.
Days Away’s self-released disc the L.S.D.E.P. is an out of print rarity today, but collection fanatics need not worry – every track of the EP is recreated on the band’s debut album Mapping an Invisible World. Still, it’s nice to take a look back at the promise held by the best songs of the EP.
The soothing sounds of “Stay the Same” are a wonderful start to the L.S.D.E.P. Even with the instrumentation at its heaviest, Keith Goodwin (guitar/vocals) keeps a lazy pace with his placid singing. “Stay the Same” also introduces the band’s simplistic yet poignant approach to lyrics, a fitting compliment to Goodwin’s vocal style.
Read More “Days Away – L.S.D.E.P.”Review: Name Taken – The Silent Game
The welcome voice of bassist/singer Chad Atkinson singing a cappella at the introduction of “The Safety of Routine” gives The Silent Game an undeniably powerful start. Atkinson’s vocals are so confident and adult that it’s hard to believe that he, along with the other members of Name Taken (drummer Bret Meisenbach and guitarists Ryan Edwards and Blake Means), were mere teenagers when they created the EP.
This trend of youthful maturity continues with “For Sunday” in which Edwards and Means shine. Ignoring the uninspired power chord conventions of their scene they chase each other across their respective fretboards forming tightly woven patterns to set the dark mood of lyrics such as ‘And God why do I blame them? / I’m begging you to forgive me.’ During the breakdown the guitar duo alternate riffs from the left speaker to the right culminating with a frenzied message from Chad made all the more urgent by the fast paced rhythm courtesy of Meisenbach. If Chad’s striking vocals in “The Safety of Routine” are the initial draw, the instrumentation on “For Sunday” is what leaves the listener begging for more.
Read More “Name Taken – The Silent Game”