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LATEST ARTICLES - PAGE 2

Review: Artless Jesus – “U HATE ME”

Adam Grundy

I’d like to introduce everyone to Artless Jesus, a new pop-punk band that features members of Record Heat (Spirit Animal), Cal Stamp (vocals) and Paul Michel (guitars). The lead single from The Assorted Grievances of Artless Jesus EP, “U HATE ME,” also has Pat Gerasia (Red Sun Rising) on drums, and features a nice combination of crunchy guitar riffs, shimmering pop-punk vocals from Cal Stamp, and a cool all-around vibe built for those summer drives to the beach. The band shared, “We shared the EP with some industry types and they hated it, so we posted their feedback on our website. After a decade-plus of kicking around the lower-middle class of the music business, we don’t really give a shit anymore. Fuck ’em.” With a sound that sounds similar to early New Found Glory paired with Four Year Strong, Artless Jesus may just be the next great discovery in the pop-punk genre.

Cal Stamp’s smooth vocals in the verses bleed well into the pre-chorus build-up, before admitting, “But you hate the way my voice sounds when I’m singing you to sleep / And you hate the way I stumble trying to sweep you off your feet / You hate the shape our bodies make at night between the sheets / But the only thing I’d change in you / Are all the countless ways that you hate me.” It’s a pretty solid introductory statement from some talented, and under-appreciated, musicians who are looking for a new avenue for their creativity.

Interview: Johnny Stevens of Highly Suspect

Highly Suspect
Adam Grundy

Recently I was able to catch up with lead vocalist/guitarist of Highly Suspect, Johnny Stevens, to discuss the band’s great new album that released today, called As Above, So Below. In this interview, I asked Johnny about where the album title originated from, the lyrical inspiration behind key tracks, and the songs he feels will translate best to the live setting. Today, Highly Suspect has released a music video for “Plastic Boxes,” and the band will be on tour starting this September with tickets on sale here.

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Review: Eliza & The Delusionals – Make It Feel Like The Garden

Adam Grundy

The second studio album from Eliza & The Delusionals is a stunning collection of songs that play off of each other brilliantly and put emphasis on the songwriting improvements from the band. Make It Feel Like The Garden was produced by Oscar Dawson (Holy Holy, Amy Shark) and lead singer Eliza Klatt shared, “It was interesting to see how working in a different part of the world, outside of the comfort of our home studio and Australia in general, has influenced our writing and the process of demoing the songs. Recording the album with Oscar Dawson was an incredibly collaborative experience. He continued to push us out of our comfort zones which led us to feeling really free creatively. I think this also made us write in our most honest and genuine form.” The album is built around several different flowery interludes, including “Iris,” “Marigold,” “Dahlia,” “Arabella,” and lastly “Violet” that help set the stage for the music that comes flowing after. By creating an authentic record that plays into a sound similar to bands like The Aces, Wolf Alice, and The 1975, Eliza & The Delusionals prove that they are here to stay.

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Review: AFI – Black Sails In The Sunset

AFI - Black Sails In The Sunset
Adam Grundy

When AFI began their fourth studio album, Black Sails In The Sunset, with the memorable gang vocals of “Through our bleeding, we are one!” they lit the match for one of the most explosive band trajectories ever witnessed in this scene. This would be the first LP with the now-classic lineup of Jade Puget, Adam Carson, Hunter Burgan, and Davey Havok, and featured a dramatic shift away from the punk rock sound they had explored on their earlier work in favor of a darker-tinged aesthetic. Black Sails In The Sunset is one of those gripping albums that grab the listener by the throat from the very first spin and beckons them to join in the fray. While AFI certainly weren’t the only punk band to explore a darker side to the sound, they did seem to do it a bit more flawlessly than the bands that would later emulate their career path.

This album has recently received a fresh vinyl reissue via Craft Recordings, that releases on July 19, 2024, and it includes several additional bonus tracks like “Midnight Sun,” “Who Knew?”, “Weight Of Words” and the previously vinyl-only song of “Lower It” has been added to the tail end of the tracklisting (rather than closing out Side A, as found on previous vinyl versions). AFI have re-captured our collective imaginations on this thrilling, comprehensive reissue that hits just as hard as it did back in the early summer of 1999.

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Review: Fenix TX – Fenix TX

Adam Grundy

The self-titled record from Fenix TX came with a number of firsts for the band. It was their first major label LP, the first record that they would release after re-branding from Riverfenix to Fenix TX, and their first real exposure to the mainstream of pop-punk that was beginning to blossom during the summer of 1999. Other pop-punk bands, like Blink-182, were getting major radio airplay and more audiences were being exposed to this genre of music. Fenix TX was produced by Jerry Finn, Ryan Greene, and Jim Barnes, and the band would continue to work with Finn on their equally successful Lechuza. This self-titled LP by the pop-punk band from Houston still sounds as charming, polished, and at moments a bit before its time. For every great track like “All My Fault” and “Flight 601 (All I Got Is Time),” there’s a goofy song like “Rooster Song” to show their audience that they were growing up and to not be taken too seriously. There’s plenty to love and enjoy on this LP that would provide plenty of clues of where Fenix TX would take their sound on subsequent releases.

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Interview: Ali Tabatabaee of Zebrahead

Zebrahead
Adam Grundy

Recently I was able to schedule a Zoom call with Ali Tabatabaee of Zebrahead to discuss the band’s new single, “I Have Mixed Drinks About Feelings,” and the final record in their trilogy of EPs called I. In this interview I asked Ali about the band’s touring plans, how he organizes the band’s setlists, as well as a chance to reflect on Zebrahead’s near 30 year existence. I will be released on November 13th.

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Review: Hootie & The Blowfish – Cracked Rear View

Adam Grundy

Twenty-two million fans can’t be wrong, right? The 22x-platinum debut from Hootie & The Blowfish is a remarkable achievement of staying true to the band’s roots and being willing to be different from what was dominating the rock scene in the mid-90’s. Grunge rock was everywhere during this time period, so most major labels passed on the thought of signing a pop-rock band from South Carolina. Cracked Rear View opened to a modest charting of #127 on the Billboard 200, but it would quickly build momentum and become the best-selling album of 1995. The record was produced by Don Gehman (R.E.M., John Mellencamp) and would spawn five successful singles that still get radio airplay to this day. While Hootie & The Blowfish would have trouble replicating the magic found on their debut LP on their subsequent releases, these songs still stand the test of time and remain a key example of how writing authentic, heartfelt tracks can lead to success.

The record sets off on the right tone with “Hannah Jane,” a straight forward pop-rock track that quickly showcases the band’s great chemistry between each other, and lead singer Darius Rucker’s captivating vocal performance remains a key part of Hootie & The Blowfish’s success story. “Hold My Hand” was the first single to be released from the set and it’s a steadfast choice of a track to introduce the band to the world and continues to be a staple in the band’s live performances. The lead single is a key example of how the band understood what made their music accessible, catchy, and heartfelt simultaneously in an era when pop-rock wasn’t a major seller.

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Review: The Early November – The Early November

The Early November - The Early November
Adam Grundy

The latest studio album from The Early November is a great encapsulation of all the styles, vibes, and feelings they have brought forth over their career. As front-man Ace Enders put it in an interview I conducted with the band, “It’s the exclamation point, versus the period, of where we are in our career.” It’s hard to not agree with this sentiment as The Early November features everything that the band has been known for, while still moving the needle forward in their creative process as this LP may just be their finest hour. From the crunchy opening chords of the Futures-esque “The Empress” to the tender acoustic guitar bliss of “It Will Always Be,” this record is filled with breathtaking moments from front-to-back that makes the journey for longtime fans of The Early November that much sweeter.

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Review: The Decemberists – As It Ever Was, So It Will Be Again

Adam Grundy

The ninth studio album from The Decemberists, titled As It Ever Was, So It Will Be Again, is a thrilling walk through the woods of indie-folk lore that firmly highlights the strengths of the band. The Decemberists recently wrapped a tour that acted as a teaser to the songs that would be on this LP, and the music found on this record translated extremely well to the live setting. The band has never been shy of expanding upon the roots of folk music by adding in rich context to their songs, creating unique characters, and telling vivid stories through their music. Truly the band’s first double album, this particular record puts all of their assets on full display in a marvelous accomplishment of artistic achievement, and it just may be the band’s finest, and most complete work of music to date.

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Interview: Snarls

Snarls
Adam Grundy

This past weekend, I was able to schedule an in-person interview with Snarls before their show at DC9 in Washington, D.C. The tour stop was during the band’s first headlining tour of their young career, and was in support of their critically acclaimed sophomore record, With Love. In this interview, I asked the band about key moments during the writing/recording process of their new album, the songs that are translating best to the live setting, and much more.

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Interview: The Early November

The Early November
Adam Grundy

This past week, I was able to schedule a Zoom call with Ace Enders and Jeff Kummer of The Early November to discuss everything that went into the band’s new self-titled record that released today. In this interview, I asked the band about the creative process behind key tracks like “The Empress” and “The Fool,” their best memories of growing up through the Drive-Thru Records era of music, and what they’re most looking forward to on their upcoming tour.

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Review: Underoath – They’re Only Chasing Safety

Underoath - They're Only Chasing Safety
Adam Grundy

It’s pretty amazing to think just how captivating Underoath were on their fourth studio album called They’re Only Chasing Safety. The album was first released on June 15, 2004 via Solid State Records and was produced by James Paul Wisner, and surprisingly enough, only had two official singles released from the set in “Reinventing Your Exit” and “It’s Dangerous Business Walking Out Your Front Door.” The LP has since been certified Gold, and remains one of the most influential records in the emo/hardcore scene. After their third record, The Changing of Times, nearly half of the band members had changed for this “version” of the band, now considered to be the “classic” lineup. They’re Only Chasing Safety, to this day, remains an adrenaline shot to the ears with its mix of post-hardcore, emo, electronica, and punk rock. The album features a creative blend of clean/screamed vocals by Spencer Chamberlain and drummer/vocalist Aaron Gillespie, while the rest of the band members make their presence felt in several different spots on the record. They’re Only Chasing Safety, and their subsequent album of Define The Great Line, are consistently pointed to by fans of Underoath as their best work, and the band can look back on this 20th anniversary proudly knowing that they captured lightning in a bottle at just the right moment in time.

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Review: Charli XCX – Brat

Adam Grundy

”I went my own way and I made it” are the opening lyrics on Brat, the sixth studio album from Charli XCX, and they triumphantly back the pop artist’s claim of solidifying herself in the crowded genre. This record is filled with club ready anthems about falling in and out of love, while still leaving room for showcasing her vulnerable side as well. Coming off of the success of her fifth record, Crash, in addition to several key movie soundtrack contributions, it would’ve been easy for Charli XCX to simply just ride the popularity wave and not add anything new to her repertoire. Brat instead is a remarkable achievement in artistic freedom, and comes armed with frenetic beats, soaring hooks, and breakneck tempo changes. While pop music has changed quite a bit over the last half decade, the ability of Charli XCX to stand out from the pack remains her greatest asset.

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Review: Twenty One Pilots – Clancy

Adam Grundy

The seventh studio album from Twenty One Pilots, called Clancy, brings closure to the near decade-long conceptual series that began with Trench. In many ways, Twenty One Pilots are challenging their audience to go on this ride with them as they navigate through the waters of rap, alternative, punk, and indie rock, while still looking for new and innovative ways to express the right emotions in their music. Clancy is the character that the band first introduced in Trench, and this record of the same name pulls out some additional thematic elements to bring rich context to the story. After some hard to hear radio chatter on the beginning of the opener, “Overcompensate,” a voice comes on to set the tone by stating emphatically, “Welcome back to Trench.” By taking a brief detour to where they’ve been, while still trying to advance the music forward in their repertoire, Twenty One Pilots have crafted an album worthy of multiple repeat spins and reward listeners willing to take deep dive into the world of Clancy.

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