Review: Bad Suns – Accelerator

Bad Suns - Accelerator

Bad Suns are on the right trajectory on their fifth studio album, Accelerator, that leans heavily into lead vocalist/guitarist Christo Bowman’s personal life. Bowman has a lot to be thankful for: a beautiful wife and growing family that now includes a child, and it becomes increasingly evident on this new LP that he is also truly coming into his own as a gifted songwriter with a clear vision for the music he’s making. Accelerator is Bad Suns’ first full-length studio album in three years, while the last time we heard music from the band was in the form of a 2023 EP, named Infinite Joy, that gave clues as to where the band could and would take their music in the future. The overall flow of Accelerator is well-organized, meaningful and brimming with excitement from start to finish. Through Bowman’s lens of how he sees the world, musically, Bad Suns have simultaneously made their most personal and best record to date.

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Review: Hayes Carll – We’re Only Human

Hayes Carll feels like a man on a mission on his latest record, We’re Only Human. This country singer-songwriter shimmers and sways all over this ten-track LP that is brimming with great lyrical undertones, vivid imagery and storytelling, paired with ultra-solid musicianship. We’re Only Human is Hayes Carll’s ninth studio album to date, and he wastes little time getting to what’s on his mind lately on this latest effort that is worthy of your time. With key singles like “High”, the upbeat romp of “Progress of Man (Bitcoin & Cattle)” and the opening title track that explains, “We’re only human / That is all / Just walking the rope between fear and hope / And knowing we’re gonna fall / ‘Cause we’re only human,” Hayes Carll weaves a tangled web of intricate melodies on this record that fits somewhere in the realm of Zach Bryan, Jason Isbell and Bob Dylan.

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My Life In 35 Songs, Track 21: “Holocene” by Bon Iver

My Life in 35 Songs

At once I knew: I was not magnificent.

If you want a cheat code for making every piece of art you see or hear suddenly seem incredibly moving and profound, might I suggest suffering the most crushing failure of your life?

Justin Vernon knows a thing or two about heartbreak and failure. For years and years, the singer-songwriter behind the Bon Iver project was perhaps the person in the indie rock world most synonymous with sadness. Bon Iver’s debut, 2007’s For Emma, Forever Ago, was famously the outcome of Vernon retreating to a remote Wisconsin cabin to nurse a broken heart. The follow-up, 2011’s Bon Iver, Bon Iver, was far more sonically audacious, but often circled back to the same kind of tender pain as its predecessor – especially on “Holocene,” my favorite Bon Iver song, and one of those songs that will always, always put a lump in my throat.

For Emma, Forever Ago is one of my go-to wintertime albums. I fell in love with it during the December of my senior year of high school, listening to those delicate, beautiful songs over and over while driving to school on cold, snowy mornings. A choir kid in high school, I loved how Bon Iver songs felt almost choral in their composition, with Vernon frequently layering his falsetto vocals on top of one another in songs like “Lump Sum.”

Bon Iver, Bon Iver felt different. A summertime release that I listened to for the first time in the midst of a mighty northern Michigan rainstorm, that album came to evoke for me, so clearly, the feel of muggy summer nights. Where For Emma, Forever Ago had essentially become Christmas music to my ears, the follow-up was a go-to driving soundtrack for late, late nights that summer. I especially loved how the closer, the ‘80s-washed power ballad “Beth/Rest,” sounded against the backdrop of pitch-dark roads.

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Review: Good Charlotte – Motel Du Cap

Good Charlotte have returned with their first studio album in seven years, called Motel Du Cap, and it is an exploration of the band’s humble beginnings, while still offering a few new musical elements to further the artistic direction of GC. The music landscape has changed quite a bit since Good Charlotte last released Generation Rx. Country artists are predominantly taking the top spots on the Billboard 200, while rock/punk music has offered some really cool emerging artists in the scene such as Turnstile, Pinkshift and Moving Mountains, just to name a few. So where does Good Charlotte fit in? The answer can be found by checking in to Motel Du Cap and hearing the Madden brothers’ unique perspective on how far they’ve come together, their past trauma, and overall outlook on life. The set was produced by Johan Carlsson, Zakk Cervini, Jordan Fish, Andrew Goldstein, and Charlie Puth, and is armed with 13 songs in total. Four of the tracks include guest artist spots, and Good Charlotte do a commendable job of not only paying homage to their past legacy as a band, but showcasing their staying power in our scene.

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Pool Kids

Pool Kids

Recently, I was able to schedule a Zoom call with Christine Goodwyne (vocals/guitar) and Andy Anaya (guitars) of Pool Kids, ahead of the release of their great new album called Easier Said Than Done, out digitally via Epitaph on August 15th. In this interview, I asked Pool Kids about the unique artwork behind their new LP, what they did differently during their creative songwriting process, and which songs were the trickiest to pen on Easier Said Than Done. Pre-orders are up for the vinyl here.

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Interview: Christo Bowman of Bad Suns

Bad Suns

This past month I was able to connect with lead vocalist/guitarist, Christo Bowman, of the indie rock band, Bad Suns, to discuss what went into the band’s excellent fifth studio album, called Accelerator. In this interview, I asked Christo about his new foray into fatherhood and the affect it may influence in his future songwriting, plus Christo provided a detailed walkthrough of Bad Suns’ discography, and we also dove deep into the personal lyrical material found on Bad Suns’ latest album. Accelerator releases this Friday, August 8th via Epitaph Records and you can purchase the record here.

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My Life In 35 Songs, Track 20: “The Sound of You and Me” by Yellowcard

My Life in 35 Songs

I’ve never been more ready to move on.

I felt like I was escaping from prison.

In the car, fleeing campus at the end of my sophomore year of college, I got a legitimate adrenaline jolt, because a part of me couldn’t believe that this long, arduous year was finally drawing to a close. 12 months earlier, I’d pulled away from my freshman dorm feeling positive about college and extremely hopeful about the summer to come. Now, I wondered in the back of my mind whether I’d ever come back to this school again. Why had that one year made such a difference?

Fortunately, I still had a lot of hope for the summertime. For months, I’d had this day circled on the calendar, a mental “finish line” where everything that had been out of whack in my life would click back into place. I’d go back home; my girlfriend Jillian and I would be reunited; I’d go back to the summer job I loved, performing at the local dinner theater; winter would finally lose its oppressive hold on Michigan and I’d get to roll down the car windows and feel the wind blow back my hair as I blasted summertime songs on the stereo.

I even already had a summertime soundtrack picked out. On March 22, 2011, Yellowcard, one of the preeminent “summer soundtrack” bands of my youth, had released their first new album in four years. Called When You’re Through Thinking, Say Yes, the album was packed with big anthems that were begging for precisely the type of windows-down car rides I mentioned above. There’s even a song on that album, called “With You Around,” where the chorus goes “All I can think about is you and me driving with a Saves the Day record on/We were singing ’til our voices were gone.” I listened to that album on repeat during my final month of sophomore year, trying to will summertime to get here a little faster, because I’d never needed it more.

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Review: Blindside – The Great Depression

Blindside - The Great Depression

The twentieth anniversary of the fifth studio album by Blindside is coming up this weekend, so it’s time to revisit The Great Depression. The album was largely influenced by a trip to Africa that their lead singer, Christian Lindskog, which left the singer “unsettled” by his experience and the things he saw vastly influenced the direction of the record. The LP also found Blindside going with an independent label, after the moderate commercial success of Silence and About a Burning Fire, and deciding to work with a different producer as well in Lasse Mårtén. While I felt the pairing of the previous two records with veteran producer, Howard Benson, was a match made in music heaven for Blindside, The Great Depression is truly an “artist’s record” in that the band was beginning to see the world through a much different lens. The set would spawn two singles in “Fell In Love With The Game” and the reflective “When I Remember,” but had trouble gaining traction commercially. The album is still adored by many Blindside fans to this day, and it’s easy to see why after a fresh listen. The Great Depression marked a significant shift in Blindside’s artistic direction, and left hints as to where they would take their sound on subsequent releases.

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Interview: Jay Malcuit of YUNGER

YUNGER

Recently, I was able to schedule a Zoom call with Jay Malcuit, the lead vocalist of a rock band called YUNGER, who have released a hard-hitting dual single in “Alive”/”Sinner”. In this interview, I asked Jay about what went into the writing and recording process of the single and the 7″ vinyl, his on-stage “persona”, and much more. If you’re enjoying the music and interview, please consider purchasing the 7″ single here.

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My Life In 35 Songs, Track 19: “Dusk and Summer” by Dashboard Confessional

My Life in 35 Songs

Days like that should last and last and last…

I treat end-of-summer songs the way most people treat Christmas music.

There is an entire segment of the music industry that is built around the fact that, for at least a month at the end of every year, a significant percentage of the music-listening population only wants to hear holiday songs. It’s why Mariah Carey’s “All I Want for Christmas Is You” will have an annual stint atop of Billboard charts from now until the end of time, and why Spotify Wrapped cuts off streaming stats for its users around Halloween. The last six weeks of the year is holiday music season.

Well, for me, August is end-of-summer music season. I have an entire playlist of songs that I associate solely with the fading of Earth’s most glorious season. Most of those songs, just like Christmas carols, sound wildly out of place to me if I hear them at any other time of year. But play them for me in August, especially in those last two weeks before Labor Day, and my heart will ache with all the melancholy of watching another summer die.

No song on the planet captures the sweet, sad feeling of summer’s end better than Dashboard Confessional’s “Dusk and Summer,” and its perennial re-entry into my life has made it one of my most cherished songs of all time. To tell that story, I have to break with the typical mold of this essay series – most parts so far have focused in on one specific memory or period of time – and explain the evolution of my end-of-summer ritual, and how music came to be a core part of it.

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Review: The Haunt – New Addiction

The Haunt - New Addiction

I’d love to introduce everyone to South Florida hard rock band, The Haunt, who are led by a sister and brother duo, Anastasia (vocals) and Maxamillion Haunt (guitar/production). On their latest record, called New Addiction, The Haunt quickly re-solidify themselves as major players in the Alternative/Hard Rock scene with this album that was produced by Kevin Thrasher (Escape the Fate, Jelly Roll). The set includes The Haunt’s breakthrough single of “Masochistic Lovers,” that features Craig Mabbitt (Dead Rabbitts/Escape the Fate), that showcases the band’s knack for writing big hooks with plenty of emo-laced substance. The Haunt are a great mix of scene nostalgia, paired with powerhouse female vocals, and slick production in the same vein as Greywind, Paramore, and Evanescence. New Addiction lives up its name, because you will likely be obsessed and charmed by The Haunt.

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Review: Red Scare Across Canada: 2025

Red Scare Across Canada: 2025

We need more punk music in this world, especially today, and Red Scare Records are supplying the goods to our demand with the recently released compilation of Red Scare Across Canada: 2025. The comp features a new single from four great artists in Brendan Kelly and the Wandering Birds, Guerilla Poubelle, Sam Russo, and In The Meantime. Red Scare Records is basically just showing off the depth of their dynamic punk rock roster on this compilation that plays out speedily, but is ultra-rewarding to the listener on repeat spins.

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My Life In 35 Songs, Track 18: “Growing Up” by The Maine

My Life in 35 Songs

Photograph, remembering the summer…

I could feel it in my bones.

Driving home from college after successfully completing my freshman year, something told me that I was in for a banner summer. The calendar hadn’t even flipped over from April to May yet, but the air was warm and the sun was beating down and my car windows were open and the music was blaring. Getting off the highway, it felt like my hometown was welcoming me back with open arms. Somehow, I just knew I was about to live the greatest summer of my life.

I’m no great believer in clairvoyance, but my premonition that day is absolutely the closest I’ve ever come to predicting the future. Because, as it turned out, the summer of 2010 was the summer I fell in love with the girl I was going to marry.

There’s a special gravity to the albums and songs you hear for the first time right around the start of any new relationship, but that counts for double when it’s the relationship that’s going to last for the long haul. Such was the case for me with Black & White, the second album from Arizona rock band The Maine.

The Maine had come up as part of the “neon pop-punk” wave of the late-2000s, a micro-movement defined by uber-poppy, glossily-produced rock songs that sounded so bright you could almost hear the saturated colors in the music. Fast-forward to 2025 and The Maine have outlasted every other vestige of that movement, evolving into a widely-respected independent rock band whose music folds in influences ranging from Third Eye Blind to new wave to Americana. These days, they are one of my very favorite bands. Back in 2010, though, they were only barely on my radar.

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Review: Lord Huron – The Cosmic Selector Vol. 1

Lord Huron - The Cosmic Selector Vol. 1

Lord Huron, the project of LA-based singer-songwriter, and visual artist, Ben Schneider, has released his fifth album that was written and co-produced by Schneider. Rounding out Lord Huron’s band are musicians Tom Renaud, Mark Barry and Miguel Briseño, and there is also two cameos to be found on The Cosmic Selector from actress Kristen Stewart (on “Who Laughs Last”) and Blonde Redhead’s Kazu Makino (on “Fire Eternal”). Lord Huron gets into a comfortable groove on this 12-track LP that seems like the logical follow-up from the band’s excellent 2018 record of Vide Noir, paired with the crisp songwriting that was most recently found all over the 2021 effort called Long Lost. One of the key tracks that helps set the tone for the entirety of the record is found on “Nothing I Need” as Schneider croons, “I feel in deep when you fell in love with me / Now I got everything I want, and I got nothing that I need / If I believe, will you fall back in love with me? / Now I got everything I want, and I got nothing that I need.” These lyrics act as a mantra for Lord Huron as he once again explores the cosmos on The Cosmic Selector Vol. 1, an album that is rich with the themes of love, loneliness, and finding out the meaning of this thing we call life.

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