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Love Metal at 20: The Album That Awakened My Love for HIM

HIM
Ashley Perez

A blistering guitar riff filled my ears. Pummeling drums echoed throughout my head. Sultry baritone vocals singing about a love that ached like death took the song home. My friend sat in front of me with a goofy grin waiting for my reaction. “I love this song,” he said. “It’s good, right? They’re a Finnish band called HIM.” We typically spent mornings before 10th-grade history ranking our favorite Green Day songs and debating if they or Blink-182 were the true kings of pop punk. Then one day, it was all about HIM. He started wearing their shirts every day. He obsessed over their music videos. His notebook was slowly taken over by poorly drawn Heartagrams. He spent days taking me through their discography in a desperate attempt to convert me. Nothing really clicked. It’s not that I didn’t like them. They were just okay in my book. But, he didn’t give up convinced he would find the song that would turn me into a fan.

Another morning before history. By now we had the routine down: he’d scroll through his iPod searching for the perfect song, hand me the headphones, and hit play. But this time, something changed. A serene swirling piano greeted me followed by energetic percussion and gentle acoustic guitars that took the song to a different level. The crooning baritone I’ve heard many times before came in sounding sweet and gentle. It was unlike anything I’d heard before. I looked at my friend. He grinned. “The Sacrament” was my introduction to Love Metal and the song that made me a fan. 20 years later, it remains my favorite HIM song.

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Review: Sarah and the Safe Word – The Book of Broken Glass

Adam Grundy

Oscar Wilde once said, “If one cannot enjoy reading a book over and over again, there is no use in reading it at all.” The fourth album by Sarah and the Safe Word, The Book of Broken Glass, tells a story that weaves a tangled web and adds just enough new elements into the band’s sound to keep the listener coming back for more. The set was produced by veteran hit-maker Jim Wirt, and this slick collection of songs moves the needle in the right direction for the band’s overall development. This album also features three tracks with outside collaborators, and yet these extra voices only add to the mystique that this artist has perfected through their mix of cabaret, emo, punk, and rock elements. With a wide range of emotions shown on these 13 songs, Sarah and the Safe Word make their most dramatic stamp on the music scene to date.

After a brief introductory song to set the stage for the chaos and tragedy that outlines the path ahead, the band kicks into full gear with the lead single, “Ruby Off The Rails.” The track features a great, heavy riff from Kienan Dietrich that sets the tone for the song that rocks with pointed purpose. The second half of the chorus, “She has a voice like tea and money stirred into your darkest worries / If the room is getting blurry, there’s no need to hurry / Hurry up and wait / Time is largely a construct,” is orchestrated to take the audience on a thrilling ride. The current single, “Old Lace” follows the driving, hard-hitting song with a balanced blend of cabaret and rock music as Sarah Rose laments on the first verse, “I wish they’d drop the bomb, I’m wearing thin / And if I’m drowning in my sorrows, I say bathe in them / I’m falling out of circadian / Lord, bless me with a sleepless night again.” The band does a great job with their improved chemistry, while violinist Susy Reyes showcases some great playing to keep the interest high.

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Interview: Sarah and the Safe Word

Sarah and the Safe Word
Adam Grundy

Recently I was able to schedule a Zoom interview with Sarah Rose (lead vocals) and Kienan Dietrich (guitars/vocals), of Sarah & The Safe Word, to discuss their thrilling fourth album, The Book of Broken Glass. The new record was produced by Jim Wirt (Jack’s Mannequin, Hoobastank), and will be released everywhere music is sold this Friday, April 7th via Take This To Heart Records. In this in-depth interview, I asked these two band members about what went into the writing/recording of the new LP, plus what fans can expect on their current tour with Shayfer James.

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Review: Filter – The Amalgamut

Adam Grundy

The third studio album from Alternative rockers, Filter, came with immense pressure to deliver after their first two records (Short Bus and Title of Record) both went platinum. The band was also battling with lineup changes, lead vocalist/band leader Richard Patrick’s addictions, and a record label wanting Filter to deliver the goods with another hit. The Amalgamut found moderate success due in large part to the lead single “Where Do We Go From Here,” and “The Only Way (Is The Wrong Way)” getting a prominent placement in a Hummer commercial. Recently reissued on a beautiful gatefold double LP set, and making its debut on vinyl for the first time via Craft Recordings, Filter’s third album gets its moment in the limelight.

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Review: Arcane Ghosts – Distant Youth

Adam Grundy

I’d like to introduce everyone to a great Alternative rock band called Arcane Ghosts. On their latest EP, called Distant Youth, they capture the spirit of the glory days of the pop-punk genre, all paired with breakneck hooks, impeccable band chemistry, and pop sensibilities to make sure these five songs stick in your head for days on end. The band is comprised of lead vocalist and rhythm guitarist Jason Diaz, Steven Wolwyn on bass and backing vocals, and drummer Eric Mitz. With a sound that fits somewhere between Midtown, The Starting Line, and The Early November, Arcane Ghosts could very well be the next exciting band to take this scene by storm.

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Review: The Bouncing Souls – Ten Stories High

Adam Grundy

Has there ever been a more reliably enjoyable punk rock band over the past three decades than The Bouncing Souls? The band has returned with their 12th full-length studio album, called Ten Stories High, and they sound as energetic and focused as ever. On the title track, lead vocalist Greg Attonito explained, “During the studio sessions we realized we wanted a song to summarize the process and tell the story of the project. One afternoon during the session we came up with the title ‘Ten Stories High’ and matched it up with a melody that Pete and Bryan had recorded earlier on their phones. We really liked how the title added imagery of ten people in a ten story building living out their own external and internal experiences. It was a perfect summary to the project. After a few hours of tinkering with the music and words we had our title track for the record!” The band will be embarking on a comprehensive US tour with Anti-Flag starting this April, and with a slick new record in their repertoire, it will be a show you don’t want to miss.

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Review: Fall Out Boy – So Much (For) Stardust

Adam Grundy

There’s something to be said for the ability to come full circle to where it all began. Fall Out Boy have returned with their eighth studio album, So Much (for) Stardust, on the label that started the entire hype train, Fueled By Ramen. From being the band that arguably got their biggest break from a “You Hear It First” MTV vignette that showcased the band’s raucous live shows and built up the anticipation for their Take This To Your Grave album. The rest was history, as the band would reach atmospheric success on their major label debut From Under The Cork Tree, which would go on to sell over two million copies in the U.S. alone. The funny thing about the “reinvention years,” or the post-hiatus albums that came after Folie à Deux, is that this new record is the perfect balance between the two “versions” of Fall Out Boy. It has the charm of the early albums, paired with the studio experimentation of the post-hiatus LPs, all honed into a crisp delivery courtesy of veteran producer Neal Avron. From the homage of getting their “elder-emo status” on the music video for “Love From The Other Side,” to the most recent single being the most logical progression from “This Ain’t A Scene…” to now. So Much (for) Stardust achieves the near-impossible: it satisfies both longtime fans and FOB-newbies into a crowd-pleasing package of songs that tug on the heartstrings of emo kids everywhere.

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Interview: Whitehall

Whitehall
Adam Grundy

Recently I was able to catch up with Charleston-based indie rock band, Whitehall, to chat about their upcoming new LP Maizy, out everywhere music is sold on May 5th. Whitehall is Paddy Mckiernan (Vocals/Guitar), Avery Green (Guitar), Brennan Clark (Bass), and Davis Rowe (Drums). I asked the band about their approach to writing great singles like, ”Pull,” as well as what they hope others will take away from listening to their music. The band has toured with pop-rock giants like the Goo Goo Dolls, and appear poised and ready for their moment.

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Review: PHNTMS – “Heat of the Moment”

Adam Grundy

Pop rock band, PHNTMS, have returned with a new, vibrant single called “Heat of the Moment” that features The Chain Gang of 1974. The new song was produced by Courtney Ballard (Grayscale, Armor for Sleep) and is dripping with dark synths, paired with vocals by Kamtin Mohager (of The Chain Gang of 1974). What PHNTMS do best on this track is pay direct homage to 80’s electronica bands with a twist of modern flair in the guitar parts to keep things feeling fresh.

The song opens with syrupy-thick synths before breaking away into a great guitar riff by Adam Jessamine. The second verse of, “So when did love become so deceiving? / Something I can’t define / You’re playing tricks in my mind / Face it, we are simply just human / And this is not apathy / Just let me go and get high / Oh my my,” tackles the difficulties of navigating a one-sided relationship. The anthemic chorus is well-constructed, and if the song has any faults, it’s that it ends too soon. “Heat of the Moment” is sure to be stuck in your mind for days on end.

Review: Story of the Year – Tear Me To Pieces

Adam Grundy

Nostalgia can have a funny way of bringing back a flood of memories, whether they be for good or bad. Story of the Year do a great job of honing in on the positive memories of their platinum-certified debut LP, Page Avenue, into a re-imagined version of this sound found on their sixth studio album called Tear Me To Pieces. From the similar cover art, to the references of a familiar time on the song “2005,” Story of the Year embrace their past while still looking towards the future. Tear Me To Pieces features a more polished version of themselves that they hinted at on Wolves, and probably wish they had the poise to create back in 2003. This album is a solid collection of songs that hit hard from front to back, and still leave the door wide open to where they could take their sound next. With themes ranging from self-doubt, anxiety, and meaningful relationships, Story of the Year’s return to the music scene couldn’t have come at a better time.

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Review: AFI – Sing the Sorrow

Adam Grundy

How exactly did AFI transition from being a band that hardcore and goth kids had in their back pocket to becoming such a pop culture worldwide phenomenon? The answer depends on who you ask. Having outgrown their indie label of Nitro Records given the monumental success of their fifth studio album, The Art of Drowning, AFI were simply destined for a wider audience on their major label debut called Sing the Sorrow. This record was produced by A-list veterans Jerry Finn (Blink-182) and Butch Vig (Nirvana), and they helped the band craft some of their strongest songs to date. Much to the surprise of many record executives, and to the delight of their Dreamworks Records label, AFI’s Sing the Sorrow would sell 96,000 copies in its first week and debut at number five on the Billboard 200. This record seemed to be an unstoppable giant that both the hardcore/goth kids could sing a long to with the same audience as newer fans who liked Blink-182 and other pop-punk bands. The lead single of “Girl’s Not Grey” was a perfect choice of introducing AFI to a wider audience, and it was filled with slick hooks, great guitar work, and Davey Havok’s trademark vocal howls. The great thing about AFI’s growing audience was that their concerts would be a combination of kids from all different backgrounds coming together with the same unified feeling towards this band’s music. This accomplishment didn’t happen overnight, and yet AFI’s trajectory had quickly launched into the stratosphere.

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Review: Chase Tremaine – Accidental Days

Adam Grundy

It’s really a treat to watch an artist blossom gracefully as they release new music that they believe in. Chase Tremaine has returned with his third full-length studio album, Accidental Days, that was produced by Brendan St. Gelais, and Tremaine really does a great job of capturing what I love most about guitar-driven pop songs. Tremaine has mapped out a comprehensive musical landscape that could very well be his best work yet, and it’s certainly my favorite of his to date. Through these ten songs that are filled with passion and purpose, Tremaine makes Accidental Days a labor of love, while wearing his influences of bands like Thrice, Mae and other prominent artists in the scene into a beautiful composition of music.

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Review: Booze Radly – Lose, Badly

Adam Grundy

I’d like to introduce everyone to Booze Radly. This Philadelphia-based, five-piece emo/punk band is comprised of Alex Manescu (Guitar/Vocals), Dylan Molloy (keyboard/vocals), Vince Dejesus (Guitar), Youssef Moussa (Bass), and Peter Sovia (Drums). On their latest EP, entitled Lose, Badly, they take the best parts of “loser rock” and re-package it in a meaningful way that makes you ultimately root for their success. This band sounds like a mixture between Gob, Homegrown, and Weezer, all put into a blender to see what drink you’re ready to consume.

They kick things off with their lead single, “White Guy Emo,” that features some nice guest vocals from Gabby Relos to layer out their vocal attack. Manescu opens with, “First loves never really fade away / But how interesting is that for us to say / You know I’m tired and it’s a chore / But these songs keep coming cause all we are is bored,” as he captures that teenage, punk rock spirit in a nutshell. Other songs like the frenetic “Hydro Illogical” find Booze Radly experimenting with bratty vocals paired with a mosh pit-ready anthem, while “Crash and Burn” keeps the interest level high in this punk band’s attack.

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Review: Gorillaz – Cracker Island

Adam Grundy

The eighth studio album from the animated band known as Gorillaz is a pretty thrilling return to form. While their previous effort known as Song Machine: Season One was bit of a bloated collection that hit as often as it missed, Cracker Island wears its influences proudly across multiple genres, and might be their most cohesive album to date. At ten tracks and a running time of under 38 minutes, you can put Cracker Island on when you need a reprieve from the noise of the outside world. The set was produced by Greg Kurstin (Beck, Foo Fighters) at his own studio in Los Angeles, California, and he does a great job in honing in on this band’s strengths. Mainly from the mind of permanent collaborator/lead singer, Damon Albarn, Gorillaz find a nice groove within these Latin-infused beats and crisp production to engulf the listener into a world of pure imagination.

Kicking things off with the title track, a trippy, synth-driven song clouded in mystery about the world you’re about to embark unto, Gorillaz capture the spirit of their early, bulletproof work into a solid re-introduction. The opening lyrics of, “On Cracker Island, it was born / To the collective of the dawn / They were planting seeds at night / To grow a made-up paradise / Where the truth was auto-tuned (Forever cult) / And its sadness I consumed (Forever cult) / Into my formats every day (Forever cult),” are paired with complex beats in the background to keep things interesting from the get-go. “Oil” features a nice cameo by Stevie Nicks, and has a great, pulsating bass line to set the stage for Albarn’s vocal croon. It’s a very 80’s, new wave type of song that takes me back to the days of the Walkman and bright clothing choices. Nicks’ contribution is small, but necessary, as she adds just the right type of mystique to the song.

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