Review: No Trigger – Dr. Album

It’s hard to believe it’s been ten years since No Trigger released a full-length record. In the decade that’s passed, the band appeared to be cooking up just the right combination of punk-flavored hooks paired with a more melodic approach to the groove of their songs to make one of their most memorable records to date on Dr. Album. This six-piece punk band will be touring in support of the new record with The Lawrence Arms, Riot Fest, and more to spread the message of this great-sounding album that has a little bit of something for everyone. The band shared they were trying to create, “the Sgt. Pepper of punk records. We took a bunch of drugs and made this record while the world stopped. It sort of just poured out of us. A ‘had to get it all out’ sort of scenario.” Out of this experiment, No Trigger have proved that the world needs more punk bands like this.

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Review: Panic! At The Disco – Viva Las Vengeance

The latest offering of music from Panic! At the Disco leaves a lot to be desired. It has some of the magic that made Panic a household name, but most of the ideas that are brought forth on Viva Las Vengeance ultimately feel forced and not fully fleshed out. The album was produced by Jake Sinclair, Mike Viola and Brendon Urie, and when the material is on point, it can be a fun ride, yet too many of these songs don’t live up the high (high) hopes. The promotional cycle included releasing four singles, that tried to garner enough interest in the record that was coming off of one of Panic! At The Disco’s more successful albums in Pray for the Wicked, and yet early reactions to the title track, “Middle of a Breakup,” and “Local God” left a lot of fans nervous about the direction Brendon Urie would be taking on the band’s seventh studio album. What we’re ultimately left with is a missed opportunity for Urie and his production team to take Panic! At The Disco to the next level.

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Review: Teen Suicide – Honeybee Table at the Butterfly Feast

Sam Ray is the most likable person in indie rock. If you didn’t pick up on my sarcasm there, it’s not your fault; it doesn’t translate well to text. In actuality, many people have many reasons to dislike Sam Ray, from his scathing send-up of Car Seat Headrest to his honest albeit prickly online persona and, perhaps most notably, the needlessly edgy moniker of teen suicide itself. Whether these reasons are valid enough to dismiss his music as a whole is totally your call, but I’m here to deliver the message that Ray’s newest album (and first since American Pleasure Club’s fucking bliss, a dark night of the soul via noise-rock), honeybee table at the butterfly feast, is one of the year’s most moving surprises.

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Review: Hello Stranger – True Belief

The latest EP from indie rockers, Hello Stranger, is a blast of fun-sounding rock songs that have plenty of meaning behind them. The band set out to create a collection of hard-hitting tracks that have plenty of substance behind them, and I’d say that is “Mission Accomplished.” The band shared, “We had these incredibly topical, salient songs we had been working on for months, but it was difficult to get into studios or collaborate with producers. As many other artists did during that time, we decided to do it ourselves.” By choosing the route of independence, this raw EP called True Belief stays true to who the band members are as people and they make a bold leap forward as a unit. With a sound that strays somewhere between Bayside, paired with the pop rock sensibilities of Switchfoot, Hello Stranger seem destined to be familiar in your music rotation.

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Review: Snarls – “After You (Samantha’s Song)”

The latest single from Snarls feels like those last great gasps of summer air before the uncertainty of autumn wraps over us and makes us wonder where the time went. The band is coming off of releasing a great EP (What About Flowers?) with Death Cab For Cutie’s Chris Walla, and they continue to go down the rabbit hole of self-discovery with vibrant, full guitars, enveloped with vocal harmonies much like Fleetwood Mac, or contemporary artists like Phoebe Bridgers or Hayley Williams, to make the listener feel welcome. On this single, Chlo White shared:

”After You” is my love song to my long distance bestie, Samantha. She lives in Denver now, but we met in high school when I invited her to come to one of my shows! We quickly became really close friends and I found myself out in Yellow Springs, OH at least once a month for a while. That was about an hour away from where I lived in Columbus at the time, and my dad would drive me halfway and meet up with her at a TA station so we could hangout for a weekend. Too cute. I think friendships like ours are rare. We can go months without talking and pick up right where we left off. She moved a while ago now, but I still feel so close to her. I don’t think I’ll ever know another love like Samantha’s!

By creating a song that is both personal and sonically rich and full in its sound, Snarls continue to impress.

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Review: Have Mercy – Have Mercy

The latest EP from Baltimore rock band, Have Mercy, is their first taste of new music since 2019, which in the middle of a pandemic might as well feel like it’s been eons. In addition, Have Mercy called it quits when the world went to shit in the spring of 2020, only to suddenly return with this reinvigorating self-titled EP that finds them sounding as refreshed as they’ve ever been. The record blasts off on the right foot with the anthemic “I’m Gonna Be Ok,” that sounds larger than life. Frontman Brian Swindle shared, “When we wrote this song, I realized that it summarized my entire life as of late. I met the love of my life and wanted to move forward with her but couldn’t until I took care of my issues. I had to get sober, get my mental health in check and just do better. This song was a reflection of all of that.” By handling the personal issues and coming out on the better side of things, Swindle and his bandmates in Have Mercy may have just made their late career masterpiece.

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Review: Kulick – “Goner”

The latest single from talented singer-songwriter, Kulick, called “Goner” reminds me a bit of the great, anthemic rock from the early 00’s, and packs plenty of punch in its delivery. The song features some guest vocals from Sleeping With Sirens vocalist Kellin Quinn, and he takes the reins of the second verse to paint the story being brought forth in the single. Kulick is coming off the success of his Everyone I Know Will Die sophomore record and he continues to explore the depths of his improved songwriting on tracks like this. The brilliant and vibrant chorus features vocal harmonies between the two vocalists and makes for a full-sounding vocal attack.

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Review: Butch Walker – As…Glenn

A bar band balladeer playing songs in a smoky dive, hammering away at the piano and spilling his soul onto the keys as the hour gets progressively later and the inattentive crowd gets progressively more intoxicated. Or maybe there isn’t much of a “crowd” at all and he’s mostly playing for the bartender and a few drunk regulars. For so many musicians, these sentences describe a day-by-day and night-by-night reality. Getting gigs is easy; getting the audience to pay even an ounce of attention is hard. And yet, if you live that life, you still show up every night, seeking solace in the songs you’re playing and hoping that, one of these nights, even one other person will find meaning in them too.

We tend to think of careers in music as glamorous, but if you’ve actually tried your hand at one, you know the reality is something else entirely. It’s late nights and long tours and loneliness. It’s drunk people talking over your songs. It’s the sting of polite but passionless applause. It’s bar fights breaking up your set and derailing any momentum you felt you had going onstage. It’s the hope that maybe this song, maybe this show, maybe this night will be different; maybe this one will be the big break. And it’s the crushing disappointment of your reality consistently falling well short of your expectations.

On his 10th full-length album, Butch Walker turns all of this not-so-glamorous musical reality into fertile ground for the best music he’s made in years. The album in question, Butch Walker As…Glenn, is a not-quite-concept-album about a bar singer named Glenn (Butch’s middle name) and the songs he plays in his set on any given night, in any given pub, in any given town in America. Unlike Butch’s last album, 2020’s full-blown rock opera American Love Story, there isn’t really a firm narrative here. The concept is little more than a framing device, with the album starting on an introduction of the titular singer, ending with an encore, and featuring a skit about one of those aforementioned bar fights somewhere in the middle.

But listen to the songs themselves and you can hear how the spirit of the concept bled into Butch’s writing for this album. All the big-dream romanticism and all the weathered weariness of being a working-class career musician is there in the music, and the album knits those conflicting emotions and moods together into a surprisingly poignant treatise on resilience and the beauty of a no-frills, knockout song. Will Hoge once wrote: “Keep on dreaming if it breaks your heart.” Glenn is all about the musicians who keep dreaming that dream year after year, looking for moments of transcendence amidst colorful stage lights and bar floors sticky from decades worth of spilled beer. Some nights, you find that transcendence. Other nights, it might as well be a billion lightyears away.

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Interview: Me Like Bees

Me Like Bees

Recently, I was able to catch up with a great indie rock band called Me Like Bees for an interview about their new single and music video for “Radio.” The band sounds like a mix between the best parts of Cold War Kids, Jack White projects, and Manchester Orchestra. I asked the band about how they typically do their music writing, what went into the filming of their music videos, as well as a fun question about curating their perfect touring lineup.

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Review: R.E.M. – Chronic Town

Coming up in the early part of next week is the 40th anniversary of the debut EP from R.E.M. called Chronic Town. The band is celebrating this momentous occasion/birthday with a re-issued CD, cassette, and vinyl picture disc that is releasing today. Featuring pop gems like The Smiths-esque “Gardening At Night,” to The Cure-sounding “Stumble,” and “1,000,000,” the five-track EP solidified R.E.M. as a name to watch in the early part of the 80’s. As lead vocalist Michael Stipe puts it on the detailed liner notes in the package, “We started like a lowly caterpillar, a pupa stage, then a chrysalis, into something resembling a pop band.” It’s a fairly accurate depiction of the sound that comes shining through the speakers on this endearing debut EP. You can definitely hear traces of where the band would take their sound on their debut LP Murmur that began to make R.E.M. a recognizable name.

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Review: Blindside – Silence

Usually you can point to certain moments in time when your taste in music changes to broader categories. For me, it came in the form of Blindside and their aggressive, yet melodic, third studio album Silence produced by veteran hit-maker Howard Benson (Hoobastank, Papa Roach). For quite a long time in high school, and even parts of the beginning of college, I was stuck in an Alt Rock and pop-punk phase that was tough to break free from for other genres of music. Enter Blindside and their hard-nosed guitar approach, semi-screamed vocals paired with melodic breakdowns, and my music world was turned upside down. Going down the rabbit hole of post-hardcore music led to my discovery of bands like Underoath and Thursday, and prepared me to be more open to different stylistic choices in our scene’s wide umbrella of artists that would appear on a Warped Tour lineup.

Silence is anything but a silent-sounding record. It’s aggressive, pulsating, and the tones of the guitars, bass, drums, and searing vocals made for a dynamic and sonically interesting band in Blindside. Whereas their previous effort A Thought Crushed My Mind left little room for melodic breakdowns, Silence had just the right combination of punishing guitars and screamed vocals mixed with a more radio-ready sound. The record would end up peaking at #83 on the Billboard 200.

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Interview: Todd Morse

Todd Morse

Recently I was able to catch up with vocalist/bassist Todd Morse (The Offspring/H2O) to discuss his latest solo work, including a great new single called “Everything Fun (Is Bad For Me).” In this in-depth interview, I asked Todd about his recent solo material, his current partnership with being a member of The Offspring, as well as the legacy of his punk band H2O. Todd Morse also shared the albums that have shaped the person and musician he is today. Morse has a new single that will be released this fall.

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Review: Don’t Panic – “Conquer Divide”

The latest taste of music from Phoenix Alt Rock band, Don’t Panic, sets off the alarm bells of urgency on ”Conquer Divide.” The song comes from their soon to be announced LP, 24, and follows their lead single “Time Machine,” and further showcases the band’s captivating songwriting. A little fun fact is that lead singer, Dylan Rowe, was in the mix to replace Flyleaf’s vocalist a few years back. Rowe shines all over this great-sounding single that cements Don’t Panic as a band to watch as the year unfolds.

The track opens with some well-placed synths, roaring guitars, and perfectly in-time drums before bleeding away for Rowe’s great vocals to lift the song to new heights. What Don’t Panic do best on this song is slow-building to a crowd-pleasing, anthemic chorus to keep the interest high in their brand of alternative, radio-ready rock. The bridge features a slow-downed section that allows the band to take a quick breather before exploding back into a wall of sound for the final chorus to leave a great taste in the audience’s mouth, and leave them clamoring for more. The guitar tones, in particular, on this song are very powerful and full-sounding and much like the Leonardo DiCaprio movie quote of, “You had my curiosity, but now you have my attention,” Don’t Panic have certainly made me a fan.

Review: PONY – “Peach”

The latest single from indie pop rocker PONY is a blast of fuzzy guitars and vibrant vocals, called “Peach.” Singer/guitarist, Sam, mentioned this about “Peach,” “I think Peach is probably the most vulnerable song I have ever written. After all, what’s more vulnerable than a Peach? Some years ago I found myself in a relationship with someone who initially treated me like I was so special. But little by little the love seemed more and more conditional. With every bit they tried to control what I wore, who I talked to, and what I did – I lost a part of myself. It took me years to realize I was completely gone and I mistook abuse and manipulation for love. ‘Peach’ is about realizing that someone who wants to have control over you is not someone who loves you.” Out of this vulnerability comes a great self-empowering anthem of overcoming the lowest of lows. With a sound that drifts somewhere between Bully, paired with the pop sensibilities of Olivia Rodrigo and Phoebe Bridgers, PONY is well on their way to becoming your next great musical discovery.

The song starts off with some soft vocals from Sam before breaking away into some grunge-pop power chords that speak to the conflict brought forth in the lyrics. At the surface, it feels like a nice, summery pop anthem that would be perfect for those long summer drives. The reality is PONY have created such rich conflict in the lyrics about losing a part of oneself along the way to discovering what makes us tick, that it’s really hard to distance yourself from these personal issues the artist is experiencing. Overall, PONY have created a worthy single that continues to keep the interest high in this incredibly talented artist.