Article

Article

Review: The Wonder Years – Suburbia, I’ve Given You All And Now I’m Nothing

This review was originally published on AbsolutePunk.net on June 5th, 2011. It’s been ported to Chorus.fm exactly as it existed the day it was published.

If you’ve ever seen The Wonder Years play a live set, you can probably agree with me when I say the Philadelphia-based sextet puts on quite an enjoyable performance. But as good as their live shows are, those only last one night.

Frontman Daniel “Soupy” Campbell, along with bassist Joshua Martin, guitarists Casey Cavaliere and Matthew Brasch, drummer Michael Kennedy and guitarist/keyboardist Nick Steinborn, are also well-known for giving their fans tons of attention, from hanging out before and after shows to posting on this website. But those interactions only last a little while.

Interview: Sims

Sims

Sims dishes on his new record Bad Time Zoo, the time he quit rapping and was forced to revaluate music, the isolating aspects of technology, turning the mirror on your own hypocrisies, and always being plugged into the here and now.

Review: Manchester Orchestra – Mean Everything to Nothing

Manchester Orchestra - Mean Everything to Nothing

This review was written in 2009 and originally published on AbsolutePunk.net. It has been very minimally edited before being republished.

Quick note to the rest of the albums coming out this year: The bar has just been set.

Over the years there have been a select group of artists that have become so well respected within our community that they have reached almost hallowed ground. Their recordings are considered by some as the pinnacle achievement of what our little music scene can create. These bands top many “all time favorite” lists – and even years later their influence and replayablity dominate the eardrums. I’d like to present to you the next candidate for admission: Manchester Orchestra.

Review: Yellowcard – Paper Walls

Yellowcard - Paper Walls

This review was written in 2007 and originally published on AbsolutePunk.net. It has been very minimally edited before being republished.

Let us face the facts: not many music critics want to admit to liking pop-punk. Not even I, the great pop-punk apologist, can say the negative connotation associated with the genre is undeserving. Think about it – from the young and extremely vocal fans, to the piled on guy liner, to the outrageous media stunts – it’s easy to see why the genre has become the leper colony of the music world.

Review: Paramore – Riot!

Paramore - Riot!

This review was written in 2007 and originally published on AbsolutePunk.net. It has been very minimally edited before being republished.

Oh, how I wanted to hate this album.

After the release of their debut, All We Know is Falling, I sat back and watched this band become the talk of our little website. I guess when you have a large enough group of pubescent boys together, any female immediately becomes a discussion topic. This phenomenon has led to countless threads discussing the lead singer of this band (a girl for those not in the know) and her dating habits, relative “hotness,” fashion sense, and just about any other topic not related to her band’s music. So when this album arrived in my mailbox, I was, to put it mildly, not in the mood to give it the time of day. So I did the rational thing: I ignored it. I hid it on my shelf and pretended it never arrived. Didn’t even open the CD case once. Mature? I know.

Review: Cary Brothers – Who Are You

Cary Brothers - Who You Are

This review was written in 2007 and originally published on AbsolutePunk.net. It has been very minimally edited before being republished.

“Zach Braff-core.”

That has a nice ring to it, doesn’t it? I think I may just coin that phrase.

The term is not only applicable because Cary Brothers (first name Cary, last name Brothers) has had tracks appear on famed Zach Braff projects such as the Garden State Soundtrack (“Blue Eyes”) and the Last Kiss Soundtrack (“Ride”), nor is it only applicable because my first introduction to the artist was via a karaoke scene in Scrubs (Season 4: Episode 4 – “My First Kill”). No, the term can be used to accurately describe the sound of the artists deemed worthy of its association. I think you know what I’m talking about — moody, emotional music — maybe a little too mainstream to be indie yet a little too indie to be mainstream. The kind of music that fits the soundtrack to a movie so perfectly because you can also picture it as the soundtrack to your life. It’s the music that plays in your head before that first kiss with a new crush, and the music that radiates in your ears as you walk home after they break your heart. It’s the kind of music you can tie to memories so vividly that repeated listens conjure the smells, the tastes, and the other sensory images of the best (and worst) days of your life.

Review: Fall Out Boy – Infinity on High

Fall Out Boy - Infinity on High

This review was written in 2007 and originally published on AbsolutePunk.net. It has been very minimally edited before being republished.

The only way to open this review is to be honest about my intentions. Everyone knows I’m a fan of this band. My website has followed their career closely over the last few years and I have a personal relationship with some of the band members. It’s not often you hear a reviewer admit their bias, but I am doing just that. I’m a fan of the band, always have been, and probably always will. The reason I’m doing this is because I’ve come to the conclusion that there will be very few reviews (public or personal) on this album that, if the reviewer is honest with themselves, are completely objective. It seems everyone has a preconceived notion on how they feel about this band. The truth is — it’s their third (official) full-length, by this time you know if you like what they do or not. If you’re already a hater: don’t try and fool anyone into thinking you really thought, “you just might like this one” – because you won’t.