Recently I was able to connect with EDM artist and producer, Kappekoff, who just released a great new single and video for “Late Night” that features Pasha. I asked this artist about the inspiration behind the single and the video treatment, as well as where he expects the rest of his music to follow next. Kappekoff is releasing his new LP called Old Spring on November 15th and you can pre-save it here.
Read More “Kappekoff”
I’ve always felt that solo projects are a healthy form of artistic expression. Especially if the music that an artist chooses to make in the solo effort sound vastly different than anything their main band would go for. Robbietheused, the moniker of The Used’s frontman, storms onto the pop scene with a rewarding solo effort. The set was produced by longtime collaborator, John Feldmann, and he lends a trusted hand in helping Robbietheused make his pop dreams come true. When I asked the frontman about what he likes best about this genre, he quickly quipped, ”I have always loved pop music; I grew up on Michael Jackson, Mariah Carey, and that kind of thing. My favorite thing about pop is just a catchy melody that you can sing along to.” By using this background as a blueprint for his pop debut, Robbietheused crafts a synth-laden world of wonders.
Read More “robbietheused – robbietheused”
A couple of weeks ago I was able to connect with rock band, Sego, to discuss their latest music video for “Malibu Mary.” In this interview I also asked the band about their overall creative process for writing their material, as well as what fans can expect from the band on their recently announced LP called TANDANG. TANDANG will be released on streaming services on November 12th, but you can pre-save it here.
Read More “Sego”
Can it really be your “first documented, official pop album” if you’ve already released three of the biggest pop albums in recent memory? 10 years ago this weekend, Taylor Swift delivered the answer to that question, and the answer was a decisive, resounding “Yes.”
From the vantage point of 2024, it’s almost difficult to remember any version of Taylor Swift that wasn’t a world-conquering, stadium-tour-dominating pop star. The past two years of Taylormania have so thoroughly dwarfed any other pop star achievement in my lifetime that it’s even a little difficult to think back to pre-COVID times, when it seemed like the Taylor Swift machine was maybe starting to run out of gas. As mid-decade lists pour out from every music publication out there, I expect plenty of debates about what was the quote-unquote “best song” or “best album” of the decade. When it comes to discussing the artist of the decade so far, though, there is simply no debate: it’s Taylor, then it’s 93 million miles, and then it’s everyone else.
But it wasn’t always that way, and in the Taylor Swift story, it’s album number five, 2014’s 1989, that serves as arguably the most important inflection point between phase one Taylor and the force of nature we know today. Per the narrative, Taylor Swift before 2014 was a country star who had crossed over to pop music success but never fully left her Nashville roots behind. 1989, in being her “first documented, official pop album” – the weird phrasing she used to describe the LP when she officially announced it in August 2014 – was the album that made the crossover complete, and solidified Taylor’s status as the world’s biggest musical star in the process.
Read More “Taylor Swift – 1989”
The fourteenth studio album from Alternative Rock legends, 311, is a strong collection of songs that longtime fans of the band are sure to enjoy, and there’s plenty of new vibes brought forth for casual fans to check out as well. Full Bloom was produced by Collin Brittain, with some additional producer credits from Scotch Ralston and Tim Pagnotta. The band described Full Bloom as “311 on steroids,” and it’s hard to not agree with this assessment. 311 goes bigger and better than they have in quite some time and delivers the right mix of nostalgia paired with artistic growth for a strong musical statement. The set was preceded with their highest charting single in 13 years, breaking into the Top 15 on Alternative radio, with lead single “You’re Gonna Get It.” The concise ten-track album features some of the band’s strongest material in years showcasing that the veteran rockers have plenty left in the tank.
Read More “311 – Full Bloom”
This past week I was able to catch up with a new indie rock band called Anyone Awake to discuss their latest music video for “Late Night Driver.” I also asked the band about what went into their debut LP called Bushel and a Peck that released today. Since their inception in late 2022, the band has released a series of singles and a couple EPs. Their new LP is a great reflection of their influences that include Nirvana, Pink Floyd, Green Day and Peach Pit. You can listen to Bushel and a Peck here.
Read More “Anyone Awake”
”Here’s to new beginnings” is a popular toast at weddings, job promotion celebrations, and retirements, and yet most bands don’t get the opportunity to experience this feeling themselves when it comes to reinvention. Real Friends are back with a slick emo-tinged pop-punk sound on Blue Hour, their fourth full-length studio effort to date, and their first LP with vocalist Cody Muraro at the helm. The 13-song album is packed with raw emotion, songs about relationships, and in many cases the theme of starting anew is prevalent. The band, whom have been around since 2010, seem to lock into a new groove on Blue Hour with a sound leaning closer to The Wonder Years and The Menzingers, rather than pop-punk bands like The Starting Line and New Found Glory. Real Friends are making the most of their opportunity to reinvent themselves on this record that is filled with depth, rich lyrical imagery, and hard-hitting tracks that demand to be taken seriously.
Read More “Real Friends – Blue Hour”
It’s a sliding doors moment, the first time you hear a song that stops your heart. If you really think about it, any number of songs, at any number of moments in time, could be the one to change your life. For whatever reason, though, every music fan ends up with one: one song that, under the right mix of timing, circumstance, emotional clarity, and dumb luck, clicks onto your frequency and blows your whole fucking life apart. There will be other songs, after that one – many, many songs, if you’re lucky. But that one song – and that one band, and that one album – will always have a special place in your heart for what it did to kickstart something new inside of you.
I still remember the week that I heard Jimmy Eat World’s “Kill” for the first time. It was a rainy, gloomy October in northern Michigan, and I was an eighth-grade student slowly finding his way toward a deepening interest in music. In the preceding year, I’d even started finding songs that scratched some deep emotional itch in me – even if my not-so-evolved 13-year-old self couldn’t have expressed what it was about Snow Patrol’s “Run” or Nada Surf’s “Inside of Love” or Dashboard Confessional’s “Vindicated” that was making him ache. In other words, I liked music a whole lot, but I hadn’t yet opened myself up to the idea that it could take everything I was feeling deep down inside and set it to words and soundwaves.
The first time I heard “Kill” was on an episode of One Tree Hill, a not-so-well-written teenage soap that, at the time, was in its second season. Right away, I knew the song was special. It was one of those “stop what you’re doing, pay close attention and write down the lyrics so you can Google this later” kind of songs. (We didn’t have Shazam back then.) I just didn’t know how special it would prove to be.
Read More “Jimmy Eat World – Futures”
Recently I was able to connect with New York City indie rock band, Gamblers, to discuss everything that went into the writing process for their new single called ”Agita.” I also asked them about the aesthetic behind their music video for the track and what they hope their fans will feel when listening to the new single. Gamblers’ latest LP, Pulverizer, is out now wherever you stream your music.
Read More “Gamblers”
Recently I was able to connect with psych/folk songwriter, Arthur Ahbez, to discuss his new single called “Sister.” In this interview I asked Arthur about his band’s new LP, Arthur Ahbez & The Flaming Ahbez, his key influences and inspirations, and what the future has in store for his band. The new LP will be available wherever you stream your music on November 6th.
Read More “Arthur Ahbez”
Recently I was able to catch up with synth/electronic artist, Erev, to discuss everything that went into his new single called “Sandbar.” Erev is the project of songwriter and composer, Matthew David Olerio. Besides chatting about the new single, I also asked Erev about what the future has in store for this project.
Read More “Erev”
Trauma can come in many forms. Whether it’s watching a loved one going through a tough time, or experiencing the difficulties in our own lives, this trauma is never easy to face head on. Deryck Whibley bravely comes forward in sharing his multiple instances of trauma on his gripping new memoir entitled Walking Disaster: My Life Through Heaven and Hell. Whibley is a gifted songwriter, and while most of us know him for his lifelong work in Sum 41, I was surprised to hear just how deeply involved he was as the primary songwriter for the band. He mentions several times in the book instances where he recalls many fans and critics alike crediting Dave “Brownsound” Baksh as the main writer of Sum 41’s material, when that couldn’t be any further from the truth. Whibley remains poised and positive as he weaves an epic tale of the rise of Sum 41, the backstage shenanigans, key relationships he made in his life, all with an overarching narrative of the alleged abuse of his band’s former manager Greig Nori. The memoir is told in chronological order, while Whibley hints at the future tales that led to his highest of highs (Heaven) and the most dramatic of lows (Hell). Much like a Ying and Yang, Whibley needed to experience both polar opposites in order to determine what he values most in his young life that is starting to regain momentum for the next steps in his blossoming career.
Read More “Walking Disaster: My Life Through Heaven and Hell – Deryck Whibley”
In the Yellowcard discography, Lift a Sail is the oddity. It’s not a pop-punk album, for one thing – not really even close. There are arena rock songs on this record, and songs inspired by ‘90s alt-rock, and songs with a whole lot of electronic flourishes, and songs that are experimental and minimalist. There are arguably zero songs that sound like the Yellowcard of old: the band with big, bright choruses, and lyrics about summertime, and triumphant electric violin solos, and rapidfire, double-time drums. And speaking of those drums, this record marks Yellowcard’s first without drummer Longineu “LP” Parsons III, whose technical acumen behind the kit was always a strong selling point for many listeners.
For all these reasons and more, Lift a Sail was a tough pill to swallow for a lot of Yellowcard fans when it arrived 10 years ago. I remember the AbsolutePunk.net forums in the days after the album came out, and the divide in the Yellowcard threads about whether it lived up to their legacy. Plenty of fans loved it, and found the departures the band made from their signature sound to be refreshing and invigorating. But another segment of listeners – if we’re being honest, a larger segment – was baffled by what they were hearing. The phrase “sell out” was definitely bandied about, as if no pop-punk band worth its salt could try on electropop flourishes without going artistically bankrupt. A lot of fans missed the pop-punk, missed the summertime vibes, missed the big choruses and the bigger drums. I definitely remember a few users saying that, if LP wasn’t going to be a part of the band’s universe anymore, then they didn’t want to be, either.
Read More “Yellowcard – Lift a Sail”
Recently I was able to catch up with Canadian musician/producer, Devarrow, to discuss his latest single called “Lightning Bolt.” I also asked this talented artist about what went into his debut LP Heart Shaped Rock and what he hopes listeners to his music will most connect with. Heart Shaped Rock will be available wherever you stream your music tomorrow.
Read More “Devarrow”
I’d like to introduce everyone to a cool new indie rock band called October Man. The band features Ethan Bodner (guitar), JD Leidersdorff (guitar/vocals), Ian Neill (bass), Anthony Abboud (keys/drums), and Joey Murphy (keys/drums). Most of the band has been playing together for nearly a decade, with Neill being a recent addition. Their latest single, called “Dandelion” is a catchy blast of indie rock that would be perfect for fans of The Strokes, Cold War Kids, and the guitar groove of Franz Ferdinand.
The song opens up with a steady beat courtesy of Anthony Abboud while the dual-guitar attack embraces the groove of the track with a poise not usually seen in a band this young. Vocalist JD Leidersdoff has a great croon throughout the song and he remains as captivating as possible. October Man have created the perfect launch pad to success in the indie rock genre with this song that is sure to be added to many playlists for the foreseeable future.