On the new album from the South Jersey/Philadelphia band Out of Service, they do a great job of encapsulating the feelings of living with depression, getting help, and coming to terms with living with a mental illness. The wide range of emotions that a person can go through when they realize they aren’t “feeling right” can be both shocking and heartbreaking at the same time, and Out of Service realizes this is a process. In fact, as a person like me who struggles with depression from time to time, Burden spoke to me more than I thought it would from the very first listen.
2020? Are you sure?
It seems like just yesterday that I was combing through the AbsolutePunk.net boards, reading the 2009 end-of-the-year lists that crowned records like Manchester Orchestra’s Mean Everything to Nothing and Thrice’s Beggars among the finest releases of the year. A lot has changed since then—in music, in our lives, and with the state of the world—but here we are again 10 years later, taking stock of another ending.
There have been a lot of endings over the past decade. Bands we loved have called it quits. Staff members who gave countless hours of their time writing for this website have moved on to other things. AbsolutePunk had its own sunset in 2016, relaunching as Chorus.fm that spring. And yet, a lot of things have lived on, too. Our love for music, certainly, is alive and well. The vibrancy of this community as a place to talk about bands and share things you love with like-minded souls has persisted, too. And some of us have been here for a very long time, watching the state of the music scene and the world at large shift from behind our keyboards, the headphones in our ears playing us the latest thing that might get our hearts racing like our old favorite records always have.
I don’t have a neat little bow to tie around the 2010s to commemorate their impending conclusion. It’s been a chaotic decade in a lot of ways. It’s certainly been the most chaotic music era on record. The way we listen to music has changed. Entire formats have shifted. Trends have sprung up and others have died. Artists have reshaped the way that music is written, recorded, packaged, released, shared, and marketed. And perhaps most importantly, there’s just been more: more music making its way into the world on a weekly basis; more ways to hear it all; more ways to discover; more ways to think about what art can do, both in our personal day-to-day lives and to the world that we live in.
Perhaps it’s fitting, then, that our list of favorite records from the 2010s is a bit chaotic in its own right. It’s a smorgasbord of genres; a kaleidoscope of emotions; a place where massive pop superstars can coexist with the bands that really feel like they are ours, the ones that have been so foundational to this community and its unique musical identity. The list is also a testament to how much opinions on music can change over time. Some of our former Album of the Year winners are missing entirely; other albums have grown in our estimation, swimming to the forefront as, we think, the foremost artistic achievements of the past decade. Ask us again in two months and we might see things differently. For now, it’s time to put our pencils down and close the book on this chapter.
To everyone who is reading, or to anyone who has played a part in the AbsolutePunk/Chorus.fm story over the past decade, we say thank you. What a long, strange trip it’s been. Here’s to another 10 years of music mending broken hearts. [CM]
This past week, I had the opportunity to sit down with Jade of Oso Oso, before he played a supporting set at the Fillmore Silver Spring near Washington, DC. In this interview, I asked Jade about how much he follows what others say about his music, the recording process he went through during the Basking in the Glow sessions, and how he continues to find inspiration as an artist. Throughout our chat, I got a glimpse into what makes Jade such a talented songwriter, and found our conversation to be a hell of a lot of fun too.
Allen Stone has a lot to be thankful for as he celebrates the release of his new album, Building Balance: he was recently married, had his first child, and is still finding the time to deliver some more soulful tunes for his faithful fanbase. For those unfamiliar with the artist, he is an incredibly gifted vocalist and songwriter who cut his teeth to classic soul artists such as Stevie Wonder, Marvin Gaye, and Gladys Knight. Stone has a lot going for him on this latest effort, as he finds a way to embrace the past artists who inspired him to sing as well as look forward in his career as he maps out his next move creatively.
For those unfamiliar of the band Mappe Of, you are in for a musical journey not easily found on a sophomore effort. On The Isle of Ailynn, singer/songwriter Tom Meikle is as captivating as anyone in the indie music scene right from the first notes of the record. Kicking off the set with the musical landscape of “Estuary,” it’s clear that Meikle is not afraid to take some calculated risks with his music. From falsetto vocals, to carefully plucked guitars, Mappe Of has a lot going for it on their second record.
Coming off the success of the multi-platinum, debut self-titled album, Third Eye Blind could have gone in several different directions. Would they crash and burn like many of their 90’s peers hitmakers that stormed onto the scene of the height of the music industry, or would they embrace the pressure and deliver a noteworthy record? Plenty has already been written about the drama and in-fighting that went on during the writing and production of their sophomore album, Blue. Yet, I’m going to focus on the music itself which by all points of merit is still pretty damn good even at 20 years of age. The album’s themes are filled with relatable concepts, ranging everywhere from teen pregnancy (“10 Days Late”), physical abuse (“Wounded”), to gushing feelings of love (“Deep Inside Of You”).
When Ra Ra Riot announced a headlining tour with several major cities and markets on their itinerary, I knew I had to reach out to set up an interview during their local stop to my market, in Washington, DC. I had always enjoyed the stylistics changes that the band had done from album to album, and the growth in lead singer Wes Miles could be heard easily when comparing their original sound, to what came out on their latest record Superbloom. The band graciously granted me an interview with bassist, Mat Santos, to discuss what went into the recording of the latest album as well as some insight on: the band’s formation, Wes’s vocal regimen, and the band’s plans for the future. The interview was conducted in the “green room” backstage at the 9:30 Club in DC, and I truly enjoyed the conversation that Mat and I had that evening.
On the new album from the pop-punk band, Rational Anthem, called It’s Only Permanent they fully embrace their shiny personalities and have created a collection of songs that are a hell of a lot of fun. Led by the sister/brother duo of Noelle and Pete Stolp, Rational Anthem initially reminded me of some early Fenix Tx records with a mix of the pop sensibilities of Allister. Their longtime friend, Christoper Hembrough, rounds out the band, and Rational Anthem has a lot going in their favor on their latest effort.
From the opening notes of Saves The Day’s now-legendary emo album, Through Being Cool, Chris Conley confidently sings, “This isn’t the way we planned / I wasn’t supposed to forget your taste,” and it’s almost as if Conley and his band knew they might be on to something extraordinary here. The irony behind an album about leaving the cool kids to their cliques, while sitting a few out much like the cover art depicts, is humorous now because Saves the Day became emo legends on this record. Those same kids who wouldn’t give Conley and crew the time of day back in high school, are probably the ones now asking them for autographs after a show. This album was recently overlooked by Kerrang! magazine on the 25 greatest emo albums ever, much to my chagrin.
Looking back at the numerous bands influenced by this band and this album, in particular, one can not merely brush this record off as just another emo album. Instead with heart-on-my-sleeve lyrics about their hometown on songs such as “You Vandal,” where Conley sings, “I woke up to my cold sheets and the smell of New Jersey / When do I get to wake up to you?” there was no stopping this band’s ascent into greatness.
The 15th anniversary of the My Chemical Romance classic has come and gone, but with the recent news of them reuniting, I just couldn’t wait five more years to write about Three Cheers For Sweet Revenge. I vividly remember my first time hearing this record. I was a 21-year old, shopping at my local Hot Topic, browsing the listening station of the recent CD releases. The Three Cheers artwork grabbed my attention from the first look, and I knew I had to see what the band had come up with, having only seen them open up for The Used at the 9:30 Club about a year prior. The album was produced by one of all-time favorites, Howard Benson, and had it not been for my immediate trust in the producer; I may have waited to purchase this album until a few weeks later. What I was not expecting was just how professional, polished, and amazing the record was, as I became immediately transported into the world of MCR. From the opening notes of “Helena,” I knew this band had created something incredibly special, immediate, and gripping from the very first listen. It’s safe to say that this immediate purchase of the record was not one that I came to regret.
Rewind for a minute back to 1999. Nu-metal looms large with bands such as Limp Bizkit and Korn dominating the airwaves and record sales. RollingStone magazine is saying for the millionth time that rock is dead, or at the very least, on life support. Little did that magazine realize, a small yet remarkable movement was taking place. Incubus had started to establish a good career for themselves on their sophomore studio effort S.C.I.E.N.C.E. , and were slowly but surely getting rock fans to turn their heads towards the Calabasas-based band. Enter the third studio album, Make Yourself that has just turned 20 years old. Produced by veteran hit-maker Scott Litt, Incubus made a conscious effort to leave the nu-metal bands they built a scene with scratching their heads in disbelief as the band would evolve their sound into an alternative rock powerhouse that would go on to sell over two million records in the United States alone. While Incubus had grabbed my attention on S.C.I.E.N.C.E., they became my new favorite band on Make Yourself.
I often wonder if Ian Curtis had any idea of the legacy Joy Division would have on musicians young and old. I wonder if he predicted the emergence of a platform like Tumblr, where teenagers who heard “Love Will Tear Us Apart” one time subsequently purchased Unknown Pleasures banners and proudly hung them over their bedroom doors. Curtis ripped open the door for artists keen on expressing the inner turmoil bubbling beneath the flashing lights and glam rock tunes of the 80s, with his lyrical emphasis on alienation and loneliness. Radiohead, The Smashing Pumpkins, Interpol and Danny Brown (his fourth album, Atrocity Exhibition is named after the Joy Division song) are just a handful of artists who wouldn’t have evolved into the artists they are without the fleeting existence of a little post-punk band from Salford, England.
Now, New York-based electronic artist Chris Stewart has released his third album under the Black Marble moniker, Bigger Than Life. The album follows 2016’s It’s Immaterial, which was labeled as an “Ian Curtis-garage dance party you’ve never been to” by Kristin Porter at SLUG Magazine. With comments like that, Stewart left himself nowhere to go but up. More coldwave than his post-punk roots, Bigger Than Life hosts another dance party, adding a bit more polish without depriving us sad suckers the melancholia we so crave.
The mystery, indecisiveness, and possible controversy surrounding Third Eye Blind’s sixth studio album only added to the allure and likability of Screamer. In many interviews, front-man Stephan Jenkins went as far as to say that there would never be a sixth studio album from Third Eye Blind, which came as a big shock to those who have been following the band during this decade. Coming off multiple successful tours with their name at the top of the bill, Third Eye Blind has done plenty to remove themselves from the pack of 90’s bands who could only dream of Jenkins and his bandmates’ sustained success. Dopamine, their last proper full-length was released in 2015, and they followed that record up with an equally charming collection of cover songs affectionately titled Thanks For Everything. With such an ominous EP title, one could only think Jenkins was living up to his word about hanging up the studio production output from the Third Eye Blind moniker. Luckily for us, Jenkins and 3EB’s long-time drummer Brad Hargreaves, guitarists Kryz Reid and Colin Creev, and bassist Alex LeCavilier collectively came together to deliver Screamer.
When I first got word of Mark Hoppus and Alex Gaskarth joining forces for a band that would become Simple Creatures, my reaction was that they would be able to play off of each other’s strengths as songwriters and musicians brilliantly. Little did I know that this side project of sorts would morph into one of my favorite electronica-driven new bands to come out of this decade. Twelve songs later into their debut in 2019, and we are left with a much better picture of who Simple Creatures are. Whereas Strange Love was an introduction to the band and what they were capable of, Everything Opposite finds Mark and Alex at their most confident, accomplished, and strongest.
A week out from the release of Jimmy Eat World’s 10th full-length studio album Surviving, I spoke with drummer Zach Lind about how the band makes albums now versus 10 or 20 years ago, working with producer Justin Meldal-Johnsen, crafting a setlist with 25 years of music to choose from, and ranking the band’s beloved discography.
At least on the surface level, the title for Jimmy Eat World ‘s 10th full-length album feels like a proclamation. Surviving. Not many bands know quite as much about surviving as Jimmy Eat World. They’ve weathered a lot over the years: getting dropped by their first major label; being (incorrectly) considered a one-hit wonder by many; being a part of a genre and a music scene that most critics have always written off; touring with Third Eye Blind, apparently. Perhaps the most impressive thing they’ve survived is time. When I first started seriously listening to Jimmy Eat World, they’d been a band for ten years and were about to release the follow-up to their breakthrough LP. Fast-forward a decade and a half, and the band is celebrating 25 years and ten albums. They’ve kept the same four-person lineup since 1995 and have released a new album, like clockwork, every three years since 2001. And they remain as beloved today as they ever have been—a go-to “favorite band” for seemingly every person who follows them.
Bodega burst onto the post-punk scene in July 2018. Teeming with style and homages as overt as The B-52s and Gang of Four, the Brooklyn-based band’s debut album, Endless Scroll displayed an intelligent, witty group with a fully formed catalog of ideas. “Your playlist knows you better than a closest lover,” sings Ben Hozie on “How Did This Happen?!,” a biting take on the guilt of “the cultural consumer.” In “I Am Not A Cinephile,” Bodega challenges the systems of imperialism, racism, misogyny, and capitalism that allowed the universe of Alfred Hitchcock to be filmed. Co-vocalist Nikki Belfiglio channels riot-grrrl energy in an ode to female pleasure in “Gyrate.” Album highlight, “Truth Is Not Punishment” has two appearances (Long and Short) on the band’s new EP, Shiny New Model.
Endless Scroll quickly established Bodega as a band that questions oppressive systems, male idols, and consumerism. After a year of touring, the making of Shiny New Model marked a series of firsts for the band. It’s the only recording session they’ve had in a studio, the first recording with new drummer Tai Lee (previously a performer in the show STOMP), and the band handled production for the first time. On Shiny New Model, Bodega presents a new bunch of questions. This time around, there’s even more ground to cover.
The last time we heard from The Menzingers, they were fretting over getting older. “Where we gonna go now that our twenties are over?” frontman Greg Barnett asked repeatedly on “Tellin’ Lies,” the opening track from 2017’s After the Party. If that album had ended with its title track, Barnett would have had his answer (and the band could have feasibly had their happy ending). “After the party, it’s me and you.” The record proved to be a growing-up narrative that culminated in a love story—or so it seemed. But the last song on that record was actually “Livin’ Ain’t Easy,” where life was likened to a continental breakfast where they’re always out of coffee.
Hello Exile is essentially that line blown up into a widescreen, cinematic experience. The party is way past over, and so are your twenties. This time, youth and young adulthood have been replaced by the next chapter, and it’s one where things don’t seem quite as black and white as they used to. “How do I steer my early 30s?/Before I shipwreck, before I’m 40?/ Ain’t it a shame what we choose to ignore/What kind of monsters did our parents vote for?” Those are some of the first lines that Barnett sings on “America (You’re Freaking Me Out),” Hello Exile’s disillusioned opening track. A lot of this record is about trying to pretend that you’re younger than you are, or trying to get back to those golden days of youth—back when you had no cares or responsibilities. Right off the bat, though, “America” tips the record’s hand, because how can you get back to that place of innocence when the whole nation seems to be going to hell? Later, on the terrific “Strain Your Memory,” Barnett pines after a girl with a simple proposition: “Can you strain your memory back to the times/When trouble wasn’t always on our minds?” It’s a nice thought, but it’s not always that easy.
When I last spoke with Vinnie Caruana a few weeks ago, he was incredibly excited to share his solo record Aging Frontman with everyone. Now that I’ve had some time to absorb everything that is in this fantastic album, Vinnie and my conversation still sticks in mind with his cautious optimism towards his outlook on not only his music, but his life and accomplishments as well. Aging Frontman on the surface is an observation of Vinnie’s outlook on his great career with bands such as The Movielife, and I Am The Avalanche, yet this solo record solidifies an even greater standing with just how accomplished a musician and songwriter Vinnie Caruana is and has become.
There’s not much of a tradition of emo in the UK. In the 90s, emo developed so geographically that the generally-used term for it is ‘Midwest emo,’ since its sound was incubated by bands like Cap’n Jazz from Illinois, The Promise Ring from Wisconsin, The Get Up Kids from Missouri. That’s not to say that that scene was by any means insular; Texas is the Reason from New York, Jimmy Eat World from Arizona and Mineral from Texas all had distinctly ‘Midwestern’ sounds, and the forebearers of any one of those bands were Sunny Day Real Estate from Washington state and Jawbreaker from California. Plus, none of it would have happened without the Revolution Summer bands from DC, most notably Embrace and Rites of Spring, and perhaps, more importantly, Fugazi which sprung from both of them. Cross-country touring, plus zines and demo exchanges, meant that emo was pretty effectively shared across every corner of the States. Many of those bands did tour the UK too – Braid and The Get Up Kids went over there together in 1998 – but it seemingly wasn’t enough to imprint on the UK its own parallel scene, at least not one that made enough of an impact to enter the canon of emo as we talk about it twenty years on.
What we have now is ‘fourth-wave’ emo (also known as emo revival), a spiritual continuation of that Midwestern scene, with the difference being that this one was and is built heavily around Bandcamp, Twitter, and online blogs like PropertyOfZack, The Alternative and, yeah, Chorus.fm. Since house shows and local community amongst bands are still key to DIY, it didn’t bring about a total eradication of geography – ask anyone about the Philadelphia scene, for example – but it does mean that now there’s no ocean for music to travel, bands that emulate the 90s Midwestern sound can pop up anywhere.