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LATEST ARTICLES - PAGE 24

Review: Olivia Rodrigo – GUTS

Adam Grundy

So much has been written and talked about in regards to Olivia Rodrigo, from her pop prowess in her songwriting style, to the music discourse around what artists she sounds similar to, it’s all gotten a bit…tired. The last time I sat down to write about Rodrigo’s debut, SOUR, it was to evaluate what makes this artist so endearing, talented, and remarkable. GUTS picks right up where she left off on her bulletproof debut record that captivated fans near and wide, and moves the needle that much further up in her atmospheric trajectory towards superstardom. From the opening bars of the lead single, “Vampire,” to the post-teenage brashness of current single “Bad Idea Right?” Rodrigo has created a monster on her sophomore record that has already garnered tons of critical praise. While SOUR introduced the world to Olivia Rodrigo, GUTS is a beautifully messy coming-of-age album that highlights the bets parts of a pop artist willing to take the right steps in her musical journey.

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Review: Safari Room – “Broken Things”

Adam Grundy

On the latest single from Safari Room, called “Broken Things,” he tackles the difficult theme of navigating through a relationship on the brink of collapse. Songwriter Alec Koukol shared, “Quite plainly, ‘Broken Things’ is about the declination of a relationship. The song is an amalgamation of relationships I’ve had crumble over the last few years. This song is a catharsis and outburst of emotions kept in for too long. It’s a whole journey of self-discovery through loss of a relationship, confined in one tune.” The song is brimming with vibrant guitar riffs, soothing vocals, all paired with vivid storytelling from Koukol. The sound of Safari Room is similar to the style of The National, The War on Drugs, and Mae.

The song opens with the verse of “This is the end, no longer lovers/ “Maybe we can be friends” / What a lie / Emphatically sad ‘cause the good has been undone” as Koukol paints the picture of a once fruitful relationship turning sour. The song gradually picks up tempo and features a great bass line before building to the crescendo of, “You’re out of my mind /You’re out of my mind (Get out of my mind) / You’re out of my mind / Get out of my mind /You’re out of my mind (Get out of my mind) / You’re out of mind / You don’t live here anymore (You don’t live there anymore),” that provides a glimpse of the conflict going on within the songwriter’s headspace. Safari Room have reignited the flame of purpose on this electric single that is hauntingly beautiful.

Review: MS MR – “Saturn Return”

Adam Grundy

Goodbyes are hard to do. Whether it’s saying goodbye to a close friend moving to a different part of the country, or losing someone permanently due to death, it’s always a tough process to go through. MS MR have returned with their stunning final single, called “Saturn Return,” that is a fitting tribute to all of the work that vocalist Lizzy Plapinger and Max Hershenow have accomplished over the tenure of this project. Having first stormed onto the indie rock scene with the fittingly titled “Hurricane” in 2012, MS MR captured lightning in a bottle with their first two albums Secondhand Rapture and How Does It Feel. This latest dual-sided single features the atmospheric “Saturn Return” and a beautiful cover of Harvey Danger’s “Flagpole Sitta.”

”Saturn Return” opens with a soft, keyboard-laced sound that eventually breaks the spacey feel to it with Plapinger’s breathy vocals to allow the single to reach its heavenly intentions. The chorus of, “Two souls / So close again / And again, and again,” marks the connection that Plapinger and Hershenow have with each other in this band in such a majestic way. The only flaw of the song is that I wish it would’ve been longer, as it wraps up just after the two-minute mark before it could fully take off. The cover of “Flagpole Sitta” is a worthy tribute to the Alt-Rock classic track, and fits well within the realm of MS MR’s discography. They really make the track their own, and leave a memorable final artistic statement with this final release. Saying goodbye to MS MR isn’t easy, but the music that they have left behind will stand the test of time.

Review: Yawn Mower – “Stagnant Lake”

Adam Grundy

The latest single from NJ indie rock/punk band, Yawn Mower, is a tasty slab of guitar-heavy rock that showcases the band’s ability to mix in hip-hop elements, paired with crisp pop sensibilities to make themselves stand out from the pack. The band’s core lineup is comprised of Mike Chick and Biff Swenson, while they have some key contributions from others on their debut LP, called To Each Their Own Coat, and their unique style of fuzzy, doom pop plays off pretty well on songs like this. Yawn Mower will be performing at this year’s Sea.Hear.Now. festival in their hometown of Asbury Park, NJ with other marquee bands like Foo Fighters, The Killers, Weezer, and more.

The single, called “Stagnant Lake” features fuzzed-out guitars that embrace the hip-hop elements in the verses, while still leaving room for creativity in their musical delivery. The second verse of, “Ideas in the cannon for years / Got bullets that are ready to shoot / Went fishing in a stagnant lake / Found a tire, a bike and a boot,” explore lyrical wordplay to tie in to the track’s title. What the band does best on this particular single is to hone in on their musical chemistry while allowing the song to breathe a bit in the closing moments with an extended guitar solo. This is just a small taste of the possibilities Yawn Mower can take their music to in the future.

Review: The All-American Rejects – The All-American Rejects

Adam Grundy

My first impressions of The All-American Rejects, and their pop-centered rock, were generally favorable. The band stormed onto the scene with their charming first single, “Swing, Swing,” that carefully swayed from swooning falsetto vocals, from frontman Tyson Ritter, to a more lush tenor sound with ease. The single seemed to be played everywhere from baseball games, to grocery stores, and it was undeniably catchy. Their self-titled LP was produced by Tim O’Heir (The Starting Line, Say Anything) and he does a nice job of accentuating the best parts of the band on this fairly straight-forward collection of songs. A little know fact about the debut is that when the album was recorded, Tyson Ritter and Nick Wheeler were the only two band members, and it was until the band would shoot their video for their debut single that they would add Mike Kennerty on rhythm guitar and Chris Gaylor on drums. This lineup is still intact to this day, and The All-American Rejects would see even greater success with their sophomore album, Move Along. The All-American Rejects would go on to sell a million copies in the United States, and solidify the band as a marquee name in the pop-rock realm for the foreseeable future. The album was recently reissued on a “Ghostly Green” vinyl that includes a bonus 7″ vinyl on “Coke Bottle Green” to further celebrate the 20+ years that have passed since this record came out.

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Review: Don’t Panic – Setting Up To Fail

Adam Grundy

Pennsylvania rock band, Don’t Panic, have returned to the music scene with their third full-length record called Setting Up To Fail. The band is comprised of vocalist/guitarist Ted Felicetti, Keith Slader (bass), Anthony Paesano (drums) and AJ Larsen (guitar), and their sound is a vibrant mix of good vibes in the style of Bayside, Sugarcult and No Use For A Name. When speaking on the new album, Felicetti says, “We have been at it for four years now. Powered through a worldwide pandemic and wrote and released two albums in that time. But, I can say without a shadow of a doubt, this new record is this band finally stepping into its own. The songs are the most matured versions of our writing abilities and I have never been more proud to release something with my name on it. It’s the perfect mix of the rock and roll bands I grew up on like the Foo Fighters, and my punk rock roots listening to bands like Face to Face and No Use for a Name. “Newer” bands like Bayside and the Menzingers also played a major role in shaping the songwriting here, and I am more than happy to lean into that when the time calls for it– but all while shaping and creating our own sound and feel In our own lives we have never belonged, but with this record I finally feel like we have a place.” With this positive momentum going in the band’s favor, it’s no wonder why Setting Up To Fail is such a rewarding listening experience.

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Review: Ratboys – The Window

Adam Grundy

On the fifth studio album by the charming indie-rock band, Ratboys, called The Window, the band expand up on the ideas that they tinkered with on the preceding record, Happy Birthday, Ratboy, with a matured sound. The band chose to work with Chris Walla (Death Cab For Cutie, Snarls) on The Window and it would mark the first time they would record directly onto tape. Ratboys had first met Walla on a tour stop in Montreal, and he agreed to produce the album in 2021, while they sent voice memos of early demos of the songs that would end up on this record. Through the advice that Walla gave the band, Ratboys would record these songs in Walla’s Seattle studio that really jump off the speakers with veteran ease. The stylistic choices on The Window range from straight-forward indie rock, punk, grunge, to a more alt-country sound that fit well within the vocal range and capabilities of lead vocalist/guitarist Julia Steiner. The band appears to be gaining confidence at just the right moment in their trajectory, which makes it a fun time to be a fan of Ratboys.

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Review: Blessthefall – Hollow Bodies

Adam Grundy

The fourth studio album from metalcore band, Blessthefall, called Hollow Bodies was produced by Joey Sturgis (The Devil Wears Prada, Asking Alexandria) and showcased a band moving their sound closer to a blend between metal and electronica. Having listened to it again with fresh ears, albeit ten years later, the record still holds up. The sound is reminiscent of the electronica found on early Underoath albums, paired with the slick guitar hooks of Escape the Fate, and the metal-tinged leanings of Bullet For My Valentine. It all works out surprisingly well, and features the same lineup as their third album, Awakening, for the first time in consecutive records for the band. The set was released via Fearless Records and would spawn two singles, “You Wear A Crown But You’re No King” and “Deja Vu,” and debuted at #1 on the Billboard Hard Rock Albums charts. While Blessthefall wear their influences clearly on their sleeves, the product that comes out of it still feels unique and ambitious.

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Interview: 13th Law

13th Law
Adam Grundy

Recently I was able to catch up with Evan Lawrence, better known as 13th Law, to ask him the details behind his great new summer single “It’s Alright.” In the interview, this talented artist opened up about his music upbringing, he explained the differences in writing for Babyfang versus his solo project, as well as what fans can be on the lookout for as the year unfolds. 13th Law’s latest single, “LightRun” is out now wherever you stream your music.

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Review: Dashboard Confessional – A Mark, A Mission, A Brand, A Scar

Craig Manning

Given the direction that mainstream music has taken over the past two decades, it is virtually impossible to believe that an emo band once got big enough to land the end credits theme song slot in a blockbuster superhero movie. Just imagine what it would have been like if The Hotelier showed up in the credits of Captain America: Winter Soldier back in 2014, or if Foxing’s “Grand Paradise” started playing after everyone got dusted at the end of Avengers Infinity War in 2018. Awesome as these needle drops would have been, they also had a 0.02 chance of ever happening. In the mid-2000s, though, emo and pop-punk were riding a massive wave of popularity among teen listeners, and Dashboard Confessional parlayed that success into “Vindicated,” the anchor song for the third highest grossing film of 2004 – a little movie called Spider-Man 2. That movie and its soundtrack don’t hit the two-decade mark until next year, but the album that gave Dashboard the juice necessary to get to that mainstream milestone turns 20 this weekend. It’s called A Mark, A Mission, A Brand, A Scar, and it is hands down the best teen angst album ever made.

Dashboard Confessional were already a big deal in the emo community by the time 2003 rolled around. Between them, 2000’s The Swiss Army Romance and 2001’s The Places You Have Come to Fear the Most made Chris Carrabba – the songwriter, mastermind, and sometimes sole member of Dashboard Confessional – a bona-fide underground superstar. Carrabba wasn’t a pop star just yet, but you could’ve mistaken him for one if you caught the Dashboard Confessional MTV Unplugged special, shot in April of 2002. That show was the subject of a Ringer oral history last year, which revealed that basically the entire idea behind putting Dashboard Confessional on Unplugged in the first place was to capture the raw intensity and jaw-dropping enthusiasm of the band’s sing-along crowds. Early Dashboard shows became communal celebrations unlike anything else in the emo galaxy – celebrations where every fan knew every word of every song and belted them out loud enough to shake the stage. They might not have been the biggest band in the world, but for the people who loved them, Dashboard Confessional were a band that mattered. As in, tattoo-these-lyrics-on-my-arm, that-song-saved-my-life, this-band-is-my-religion mattered.

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Review: Broadside – “Bang”

Adam Grundy

The Richmond-based trio, Broadside, has returned with a great new single called “Bang” via SharpTone Records. The song features a great guest vocal appearance by Josh Roberts, and continues the sonic exploration of the sound that Broadside tinkered with on their last single (“Cruel”). The track opens with an eerie guitar riff paired with the vulnerable lyrics of, “Hang my head out the window / Watching the cars go / Hoping that one of them / Would change my life / They say it’s all that ego keeping your feet cold / I should listen to my daddy’s advice / I bite my tongue until the blood is running down my chest,” before exploding into a crowd-pleasing chorus. The electric new single was produced, mixed and mastered by Andrew Wade, and he gets a powerful performance out of the talented band.

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Review: M.A.G.S. – Destroyer

Adam Grundy

On the third studio album from M.A.G.S., called Destroyer, Elliott Douglas has destruction clearly on his mind. The majority of the record tackles the themes of self-destruction and personal growth, while also allowing room for some social commentary. Douglas shared his perspective on Destroyer by explaining, “I want my listeners to be immersed in the desolation and chaos of this world, I want them to come face to face with the ugly truth…the dark underbelly of their subconscious…all the internalized trauma and destruction. And I want them to be smiling as they face it, because they can see they are not being swallowed by their darkness but that they are, in fact, holding it in the palm of their hand.” From the artwork depicting an “end of days” scenario of tornadoes touching down on a field of flowers, everything clicks directly into place on this fully-realized record that is filled with experimentation and creativity. While his last album, Say Things That Matter, was a breezy, pop-oriented LP that found Douglas growing more comfortable in his singing voice, Destroyer embraces the chaos in the most thrilling way possible.

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Interview: World’s First Cinema

World's First Cinema
Adam Grundy

Recently I was able to schedule an interview with Los Angeles-based duo, John Sinclair and Fil Thorpe, who go by the name of World’s First Cinema. In this interview, I asked them about the style of their music, how they do most of their songwriting, and their plans for touring. World’s First Cinema fit well in the realm of the theatrics of Panic! at the Disco, paired with the hooks of Motion City Soundtrack, but they really have a style that needs to be heard to get the full experience.

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Review: The Maine – The Maine

Adam Grundy

The ninth studio album by The Maine is a self-titled effor that was produced by Colby Wedgeworth (the same producer who oversaw four other The Maine albums), and it’s easy to see why the band considers him a “sixth band member.” Having produced landmark records like Lovely Little Lonely and XOXO: From Love and Anxiety In Real Time, this self-titled album seems like the logical sequel to Lovely Little Lonely, so it’s only fitting for Wedgeworth to be at the helm. The new album also bears extra significance with the “8.1.23” street date, and showcases the band’s continued growth as songwriters. The first taste of The Maine came with the lead single, “Blame,” that even got the attention and adoration of The Jonas Brothers on Instagram. The pacing on the new record is electric and frenetic, while still allowing a few songs to brood in the darkness to fit the overall mood and aesthetic of the black & white album artwork. Having released two other singles leading up to today’s release date, “How To Exit A Room” and “Dose No. 2,” The Maine have a bulletproof record on their hands that is filled with a plethora of single-worthy songs that only prove the point of the band being on the top of their game, and quite possibly the world.

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