The ska genre may have fizzled out a bit over the past few years, but Philadelphia’s own Catbite is injecting some serious new life into the genre with their latest EP called Doom Garden. Catbite manage to simultaneously break down the walls of what can be considered ska, while also furthering their own artistic development. When I last caught up with the band for an interview, I could tell that they were poised for breakout success on this record. Of course it doesn’t hurt to have an excellent cameo on “Tired of Talk” by Fall Out Boy’s Patrick Stump to boost their own streaming algorithm and alert new fans to the magic that comes through the speakers when Catbite play their captivating music. Doom Garden is brimming with new possibilities for this band that continues to improve on their songwriting.
Read More “Catbite – Doom Garden”Review: Lyn Lapid – Buzzkill
There will be times in our life when we discover an undeniable talent in our music rotation. That type of artist who makes you say, “Well, of course this person was meant to do this for a living!” I’ve had that feeling with several key artists in my music discovery, and I think I’ve just found the next great one. Lyn Lapid is a 22 year old music sensation from Baltimore, Maryland who started to gain a loyal social media following with her ukulele and acoustic guitar-driven covers of popular songs. Her original song of “Producer Man” in 2020 was her first taste of fame, but given the breathtaking vocals and production found on her debut album, Buzzkill, it certainly won’t be her last brush of notoriety. Lapid’s sound is somewhere in the realm of the quieter moments of Billie Eilish, paired with a starry-eyed vision for her music like Olivia Rodrigo, and the vocal range of Amy Winehouse. Lyn Lapid shimmers all over Buzzkill and cements herself as a marquee artist to watch.
Read More “Lyn Lapid – Buzzkill”My Life In 35 Songs, Track 7: “Walk On” by U2
You’re packing a suitcase for a place none of us has been.
I don’t like endings or goodbyes, but I love songs about them. That’s something that will become abundantly clear as this series continues, if it’s not clear already. And there are very few songs about endings or goodbyes that matter more to me more than “Walk On,” an utterly splendid highlight from U2’s 2000 comeback album, All That You Can’t Leave Behind.
Up until 2004, almost all the music I loved had been made in my lifetime. I was drawn to the music of right now, often finding older songs or records to sound dated. I remember listening to Springsteen’s Born in the U.S.A. at some point and thinking it sounded positively ancient. (Sorry, Boss!) All those ‘80s synthesizers struck me as plasticky and passe, and I struggled to appreciate the songs underneath. It wasn’t just ‘80s synths that made my no-fly list either: I checked out The Beatles’ Rubber Soul around that same time, and found it to sound hopelessly old-fashioned.
In 2004, U2 became the first band to break through that barrier for me. It didn’t hurt, of course, that they were still a relevant band of the moment. They’d had massive hits in 2000 and 2001 with “Beautiful Day” and “Stuck in a Moment You Can’t Get Out Of”; in 2002, they’d played a Super Bowl halftime show – for my money, the greatest one of all time, with apologies to Prince; and they were currently enjoying a new level of omnipresence thanks to a stylish iPod commercial, featuring their new single “Vertigo,” that got played on every single ad break of every single prime time television program for approximately 3-6 months.
Read More “My Life In 35 Songs, Track 7: “Walk On” by U2″Review: The Ataris – “Car Song”
The new single by The Ataris, called “Car Song”, is a touching tribute to Kristopher Roe’s late father (William Roe), who passed away in 2014 due to complications from alcoholism. “My dad was always the biggest supporter of The Ataris. He was a regular on our original website’s message board, sending out VHS bootlegs of live sets he would film and interacting with everyone—everyone knew him. He truly lived and breathed our music,” Roe shared. The song has a feeling of a band being re-energized and re-focused on unlocking the magic that the band captured on their earlier material. “Car Song” opens with the vivid lyrical imagery of “Now you rest amongst the rust of these roadside monuments / In all their former glories / The drive-in nights that came and went / You fought on hard through rain beaten nights / Past the shadows of state lines / Now this victory dance, it belongs to you and I,” as Roe’s vocals remain warm and passionate.
Read More “The Ataris – “Car Song””Review: Samantha Crain – Gumshoe
There’s something very comforting about Samantha Crain and her warm vocal delivery found on Gumshoe, her seventh album to date, and first in nearly five years. Much like that sort of feeling of listening to an old friend recounting the best days of your lives together, Crain puts a delicate emphasis on her experiences that led to this record. As recounted in the press release, ”Gumshoe is a deconstruction of the false premonition that [Crain] was destined to always be an outsider. It’s all about curiosity for the things that shape you as a partner, a friend, a neighbor: a clarity Sam found in her experiences and challenges these last few years helping her partner navigate their addiction, immersing herself within her community in Oklahoma while working at a wildcare rescue and a liquor store, and discovering how to love and be loved.” They don’t make artists like Samantha Crain much anymore, but when they do come along, you treasure these musicians with a full and open heart.
Read More “Samantha Crain – Gumshoe”My Life In 35 Songs, Track 6: “Fix You” by Coldplay
When you try your best, but you don’t succeed…
I don’t have any scientific way of proving this, but I’d wager that Coldplay’s “Fix You” is the most iconic and impactful stadium rock anthem of the 21st century.
Before it ever got played in a single stadium, though, “Fix You” was something else: my first-ever heartbreak song. And to get to that particular milestone in my life, we have to talk about a hilarious subject: romantic adolescent angst.
Look, I’m sure there are some people who meet their soulmates as kids or preteens and have super cute love stories from their “awkward years.” For the rest of us, though, that stretch from whenever you discover your hormones to whenever you get mature enough to handle them is an absolute cringefest. I say all this as someone who definitely thought he was “in love” in eighth grade, and who definitely made an absolute mockery out of himself in pursuit of this supposed “love story.” Better yet, it was a “love triangle,” with the girl who I had a crush on and another classmate who also swore their “love” for her.
The entire silly affair ultimately came to a conclusion on our eighth-grade class field trip, when she chose…well, not me. At the time, it felt like a massive blow: like my first real heartbreak. But as someone who’d spent that entire school year listening to songs about heartbreak, it also felt like I was joining some exclusive club. I now had the honor of knowing what all my favorite songs were talking about, and that felt important.
Read More “My Life In 35 Songs, Track 6: “Fix You” by Coldplay”Review: Beach Bunny – Tunnel Vision
The third full-length record from Chicago Alt Rock band, Beach Bunny, is a breezy set of songs that play out well from front to back. Tunnel Vision is the band’s first release since the departure of guitarist Matt Henkels, and sees Beach Bunny getting into a comfortable groove as a three-piece band. The band’s primary songwriter, Lili Trifilio (vocals/guitar), remains as captivating as she’s ever been, and Beach Bunny re-establish themselves as a key artist to watch in the Alternative Rock scene. Over the course of the ten songs found on Tunnel Vision, Beach Bunny firmly showcase why they have such a strong and loyal following of fans with their slick songwriting, paired with memorable and plentiful hooks.
Read More “Beach Bunny – Tunnel Vision”Review: Luke Spiller – Love Will Probably Kill Me Before Cigarettes and Wine
The debut solo album from The Struts frontman, Luke Spiller, is a vulnerable collection of songs about falling in and out of love, and documents his experiences about when he first moved to Los Angeles. Love Will Probably Kill Me Before Cigarettes and Wine is filled with great string arrangements, slick production, and a 70’s flair that mirrors early James Bond scores. Luke Spiller’s star shines ever so brightly on his first venture away from The Struts to create a record that is both a departure from the sound that he established with his bandmates, and a welcomed throwback to an era of smoke-filled jazz clubs that featured captivating singers.
Read More “Luke Spiller – Love Will Probably Kill Me Before Cigarettes and Wine”Review: Acceptance – Phantoms
The debut album from Acceptance will be turning 20 over the weekend, so it’s only fitting for us to take another look at the cult favorite record known as Phantoms. The band’s strength came from the great partnership between lead guitarist Kaylan Cloud and dynamic vocalist Jason Vena, and their ability to convey a wide range of emotions through their unique brand of rock. The set was produced by veteran hit-maker Aaron Sprinkle, who leaves his great blueprint all over this shimmering album. The promotion cycle Phantoms included only two singles, “Different” was the lead single, while the more upbeat “Take Cover” followed up on the modest success of the debut single. The band would follow the release of Phantoms with tours with bands like Vendetta Red, Head Automatica, Anberlin, Saosin, and more to work on their live show that had steadily improved since Acceptance formed in 1998. Acceptance would take a lengthy hiatus in 2006, only to reunite and re-capture their spark in 2017’s equally great Colliding By Design. Phantoms signaled a key moment in Acceptance’s rise in the crowded emo scene, and it’s a shame that the record didn’t take off as much as it clearly should have.
Read More “Acceptance – Phantoms”My Life In 35 Songs, Track 5: “Kill” by Jimmy Eat World
I can’t help it baby, this is who I am; sorry, but I can’t just go turn off how I feel.
You can’t make me leave. You can’t, you can’t, you can’t.
In October of 2004, for two weeks that felt like a lifetime, my parents briefly entertained the notion of uprooting our family and moving us somewhere new. I know that’s something that a lot of kids have to deal with growing up, but it had never even been on my radar before that fall. I’d lived in the same town since I was three years old, and I’d been with the same group of classmates since first grade. I’d also watched my older siblings go through the local high school, and I already had a lot of ideas for how I wanted to follow (or diverge from) their footsteps when I got there. It never occurred to me that my immediate future might be spent anywhere other than this town.
There was also a girl – the first girl from school I’d ever developed a real, yearning, aching kind of crush for. I probably thought I was in love with her, because what else do you do with those kinds of feelings when you’re 13 years old and you’ve never experienced anything like them before? What’s love if not those fluttering butterflies you feel in your stomach every time you see that other person? I definitely wondered whether there could be some big, grand future in store for me and her, somewhere down the road.
Read More “My Life In 35 Songs, Track 5: “Kill” by Jimmy Eat World”Review: Joywave – How Do You Feel Now?
It seems like just yesterday I was finding out about a band named Joywave. My initial introduction to the band was through a friend of mine who lent me a copy of How Do You Feel Now?, and I was immediately taken back by Joywave’s cool swagger, slick production (by band members Daniel Armbruster and Sean Donnelly), and the overall package brought forth on this electric debut. Many others first got wind of Joywave through their breakthrough single/collaboration with Big Data called “Dangerous” that was bound to be successful with it’s bass-heavy delivery and great vocal performance from Armbruster. What made Joywave so charming and utterly infectious on this debut record was their ability to blend electronic and indie rock elements into their ever-evolving sound that they tinkered with on their preceding two EPs. While Joywave would go on to release four more full-length records in the ten year span that has passed since How Do You Feel Now? was first released, this album remains their strongest and most creative statement to date.
Read More “Joywave – How Do You Feel Now?”Review: Superheaven – Superheaven
The first studio album in ten years from the Pennsylvania grunge rockers, Superheaven, is a self-titled effort that finds the band leaning heavily on their strengths to further their artistic direction. After a lengthy hiatus from their 2015 LP Ours is Chrome, Superheaven would periodically reunite to play some shows. During this process of playing one-off shows, the band connected with veteran producer Will Yip during a charity concert he put on in December 2017. This partnership seemed to have stuck, as Yip has produced the band’s third studio album, Superheaven, that released today via Blue Grape Music. Superheaven have released three singles leading up to the self-titled record in “Long Gone”, “Numb To What is Real”, and most recently “Cruel Times.” Superheaven have clearly used the momentum and chemistry from each of these reunion concerts to create a record that is worthy of the band’s past legacy.
Read More “Superheaven – Superheaven”Review: Joeyglo – “Galaxy”
After taking a year and a half hiatus from music after a family tragedy, Joeyglo has returned with a vibey new single called “Galaxy” that honors his late wife, Angela. The song is a passion project from the songwriter/producer, who admitted to started writing this song nearly five years ago. The guitar parts in the track were performed by Samuel Clayton, and Cory Kassmeier mastered the single. Joeyglo shared, “This is a special song to me. Took me a long time to even want to work on music again after losing Angela and Indie…She didn’t believe it was for her initially because the lyrics (at the time) mostly talked about bending time and black holes. Ya know…nerdy shit.”
With a songwriting style that fits somewhere in the realm of Glass Animals, paired with the smooth R&B of The Weeknd, and put on blend with a crisp vocal performances similar to Mac Miller, Joeyglo has crafted something truly special here on “Galaxy.” By putting a brave step forward by releasing new music, Joeyglo is honoring his family in the best and most honest way possible with this gorgeous song about connecting with that one person who makes our universe seem a little less alone.
Interview: Wounded Touch
Recently I was able to connect with the Michigan-based metalcore band, Wounded Touch, to discuss what went into the process of their Smartpunk Records sophomore LP, A Vivid Depiction of Collapse. The band’s publicist had a cool idea of having two of the band members interview each other to get some rich insight on what make’s the band tick, so I was all for it! Kyle Maddock interviews Wounded Touch drummer Jeremy Schultz below. If you’re enjoying the band member vs. band member banter, please consider pre-ordering A Vivid Depiction of Collapse before it releases on May 16th here.
Read More “Wounded Touch”My Life In 35 Songs, Track 4: “Wheel” by John Mayer
And if you never stop when you wave goodbye, you just might find if you give it time, you will wave hello again…
I was a man on a mission. I had about 20 minutes to myself in the local mall while my mom and sister went off to shop for something, and I knew I was going to need every one of them to accomplish my task.
Walking briskly, I dodged around families with young children and groups of lackadaisical teenagers, making my way across this crowded retail mecca to find my destination: FYE, with its rows and rows of pristinely shrink-wrapped CD and DVD cases. The album I was looking for had just dropped that week, so it was right there at the front of the shop, just waiting for me to pick it up off the shelf. Then, I made my way to one of the listening stations, where you could scan the barcode of the CD you were thinking about buying, put on a pair of communal over-the-ear headphones (in retrospect, eww!), and sample the tracks. A quick listen through various clips from the album confirmed that it had more to offer than the lead single I’d had stuck in my head for weeks. And so, convinced, I marched up to the checkout counter and handed the cashier $15 or so of my hard-earned cash. It was the first CD I’d ever bought with my own money.
The date was Sunday, September 14, 2003, and the album was Heavier Things, John Mayer’s sophomore follow-up to the 2001 smash Room for Squares. At most, I’ll say I’d been a casual fan of Squares: I liked most of the songs, but none of them had become obsessions in the year or two since my sister had gotten a copy of the CD for one of her birthdays. But “Bigger Than My Body,” the lead single from Heavier Things, had absolutely become an obsession since it had dropped on August 25. That song had a dynamite earworm chorus and some of the coolest guitarwork my 12-year-old ears had ever heard on a pop single, and I was tired of holding my breath and hoping I’d hear the on the radio or catch the video while flipping channels after school. I needed to be able to hear “Bigger Than My Body” whenever I wanted, and it led me to do something I’d never done before, but would do many, many, many times in the decades to follow; it led me to buy the album.
For the next two months, I listened to Heavier Things every single day when I got home from school. It was just part of the routine: get home, fire up my portable CD player, hear those opening piano strains of “Clarity,” and do my homework while the album played. I loved Heavier Things right away, but I came to develop an extremely meaningful bond with it over the course of that fall, as I listened over and over again. I was particularly taken with a pair of songs in the second half: “Split Screen Sadness” and “Wheel.” Both are ballads and both are songs about goodbyes – albeit, different kinds of goodbyes.
Read More “My Life In 35 Songs, Track 4: “Wheel” by John Mayer”