Interview: Ryan Key of Yellowcard

Yellowcard

My relationship with Yellowcard begins over a decade ago and the musical connection and ensuing friendship now runs deeper and longer than many of my “in real life” relationships. On October 7th, 2014 the band will be releasing their most ambitious album to date, Lift a Sail. I had the chance to sit down and talk with lead singer Ryan Key about everything that went into crafting this album, the stories and inspiration behind the musical direction, and so much more.

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Review: Green Day – American Idiot

Green Day - American Idiot

I still remember the first time I heard American Idiot in full. It was my 14th birthday, and I’d been waiting for the better part of two months to finally give the album a spin. The record dropped on September 21, but as was the norm when I was young, broke, and trying to cut back on downloading, I often had to wait awhile to buy CDs or ask for them as gifts. Such was the case with Green Day’s first full-length album in four years, which I scrawled on my birthday list between other 2004 albums like Keane’s Hopes and Fears and Sister Hazel’s Lift.

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Review: The Gaslight Anthem – Get Hurt

The Gaslight Anthem - Get Hurt

“Completely different than anything we had ever done before.”

That’s the description that Brian Fallon, frontman for New Jersey rock band The Gaslight Anthem, gave to Rolling Stone in regards to Get Hurt, the band’s fifth full-length studio album. In fact, in the lead up to this record, Fallon made numerous statements just like that, talking about how he and his band spent the writing and recording sessions for album number five listening to famous records where bands had changed course and gotten “weird.” For some, hearing Fallon reference U2’s Achtung Baby and how it took that band’s sound in a completely new direction was reason to become uneasy. After all, The Gaslight Anthem is a band that has made a career out of following small progressions from album to album, changing up the themes, lyrics, and song structures, but always maintaining the same core Jersey rock and roll sound. The prospect of a “weird” Gaslight Anthem album was nerve-wracking because, for many, imagining what that album could even possibly sound like was borderline impossible.

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Review: Real Friends – Maybe This Place Is The Same And We’re Just Changing

Real Friends - Maybe This Place Is The Same And We're Just Changing

It seems a little strange that this feels less like a review for Real Friends first full-length Maybe This Place Is The Same And We’re Just Changing and more like a State of the Scene Address. After like a year of “outsiders” talking about “our” bands, people seem to be up in arms that an entity like Real Friends are getting discussed at all. Like it somehow ruins this faux-popularity that they didn’t even really like in the first place. Regardless of what you think about Pitchfork’s Ian Cohen and to a certain extent someone like Noisey’s Dan Ozzi, a vast majority of diehard fans have spent the past few months wondering if all of this emo proselytizing is even a good thing. Leave it to the Internet generation to find a new way to condemn bands for selling out, like being good at your fucking job is some sort of cross to bear. 

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Review: Joyce Manor – Never Hungover Again

Joyce Manor - Never Hungover Again

The first rule of listening to Joyce Manor is not turning Joyce Manor into a quote unquote big deal. In a culture that’s always so eager to deem something the “next big thing,” it’s only natural that bloggers and journalists alike have turned their ears and eyes towards the Torrance, CA quartet. But here’s a new flash – Joyce Manor only wants to play super-catchy punk in super-efficient bursts of auditory ecstasy. The band isn’t here to defend pop-punk, revive emo, or save rock and roll – rather Joyce Manor just wants to have a good time, play some solid tunes, and maybe have an adult beverage or five afterwards.

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