Respire – ‘Black Line’ Track-by-Track Break Down

Drew Beringer Dec 9, 2020

I’ll always contend that the most exciting part of consuming music is discovering something new – an artist or band or record that just completely enraptures you – like you found the world’s greatest secret and can’t wait to share it with anyone and everyone. That’s Respire – the Toronto sextet that’s turning heavy music on its head. The band’s new record, Black Line, is 41 minutes of pummeling drums, jazzy time signatures, and swelling horns. It’s exhilarating blackened screamo with the ethos of Broken Social Scene – Respire burns down the boundaries of what extreme music can be. Below, the band walks us through their impactful new record track-by-track.

Adam Grundy Dec 3, 2020

2020 really is the year of the female artist, isn’t it? From Taylor Swift releasing arguably releasing the most pandemic-appropriate album we could have ever hoped for, to Dua Lipa knocking us on our ass with some perfectly crafted dance-pop bliss, and Phoebe Bridgers earning several well-deserved Grammy nominations for her work, everything seemed to be shifting towards rightfully recognizing female artists for their contributions to music. Enter Miley Cyrus who has delivered a raucous collection of rock-tinged pop songs known as Plastic Hearts to close out the year. Usually albums released this late in the year fall under the radar, as every publication seems to want to rush out their year-end lists before December even sees the light of day. Plastic Hearts is definitely one of those breathtaking moments of recognizing great pop music from an artist beginning to realize her rock prowess at just the right time.

The record launches with the bratty, punk sneer of “WTF Do I Know” where Cyrus establishes herself firmly in the rock genre with a pulsating bass line and cranked up guitars. Cyrus explains her state of mind in the chorus as she sings confidently, “What the fuck do I know? I’m alone / Guess I couldn’t be somebody’s hero / You want an apology not from me / Had to leave you in your own misery / So tell me, baby, am I wrong that I moved on and I / And I don’t even miss you? / Thought that it’d be you until I die / But I let go, what the fuck do I know?” The track quickly fades away as we make our way into the title track where Cyrus sings over a tribal beat. She provides a little more insight on the change in gears of genres on the second verse as she sings, “Hello, I’ll tell you all the people I know / Sell you something that you already own / I can be whoever you want me to be / Love me now but not tomorrow / Fill me up but leave me hollow / Pull me in but don’t you get too close.” It’s almost as if Miley is telling her audience that she can be whatever persona that best suits her metamorphosis into a female rocker as long as we are there to accept her for who she is.

Adam Grundy Nov 27, 2020

While some artists were keen to wait out the pandemic before releasing music, Billie Joe Armstrong took advantage of the extra time on his hands to release a series of covers that known as the No Fun Mondays compilation. He covered a wide breadth of artists from almost all genres, including The Bangles, The Clash, John Lennon, and Tommy James and the Shondells. Despite the branded name, these songs turned out to be quite the enjoyable listening experience as Billie Joe showcased his impressive knowledge of historical artists and made each rendition feel updated for new ears.

The set kicks off with the Tommy James and the Shondells’ classic, “I Think We’re Alone Now” that got most of its longevity from the 80’s cover by the artist known as Tiffany. The guitar-based cover song stays true to the basic arrangement of the original, and Billie Joe’s trademark vocal performance is still up to par. “War Stories” by The Starjets quickly follows the opener and keeps the momentum going for a perfect slab of melodic punk rock well within the repertoire of the Green Day front-man. Billie Joe does an impressive job of commanding the track while going into his higher register on the chorus and bridge as he delivers a worthwhile rendition.

Adam Grundy Nov 20, 2020

It’s amazing how much a single year can throw a wrench into our plans. 2020 has made all of us re-focus our thoughts and priorities as we deal with a global pandemic that has forced us to make sacrifices along the way. Silverstein were poised and ready to tour on their recently released 10th studio album, A Beautiful Place to Drown when the world had other plans for the post-hardcore veterans. Having recently celebrated 20 years since their formation as band, Silverstein turned the unique situation into an opportunity to revisit some of their classic songs and deep cuts from past records for an album now known as REDUX II. The new recordings that made the cut for this record range from simple re-polishing of beloved songs that feel fresh for a new audience, to major enhancements to the song arrangement.

Adam Grundy Nov 19, 2020

It feels great to have I Am The Avalanche back. With their first studio album in six years, DIVE wastes little time getting down to the business at hand with some incredibly well-crafted tunes. Lead single “Better Days” opens the record with a perfect build up to an ultra-melodic chorus. Lead vocalist Vinnie Caruana had this to say about opening the album with the track: “Not only is it the intro track to the record, but it is also the song the first the band wrote together since 2014’s Wolverines. It’s all about realizing too late how good you had it and raising a “drink to better days.” Oddly enough, it was written before the world went to hell in a handbasket earlier this year – making it an eerie prophecy.” Interestingly, many of these songs found on DIVE are the perfect soundtrack to the uncertainty of the days ahead of us while still remaining cautiously optimistic that things can improve.

Adam Grundy Nov 18, 2020

This past week, I was able to chat with Ryan Locke (lead vocalist) of Seaway to discuss everything that went into writing and recording their fantastic fourth album, Big Vibe. Ryan describes the band’s live performances, the artistic comparisons others have made to the sound the band went for on the new record, as well as their core influences.

Adam Grundy Nov 17, 2020

The Manchester melodic punk act formed by Steve Millar, better known as Arms & Hearts, makes a solid introduction to the folk-punk scene on The Distance Between. With a raspy voice that ranges from the howl of songwriting veterans such as Brian Fallon and Chuck Ragan, Millar makes a powerful opening statement on this collection of nine well-structured songs. The material teeters between sounding like a singer-songwriter at a dimly lit nightclub, to the full-bled passion of a punk band packed to capacity in a sweaty venue. What Millar does best is making his listeners hang on his every word as he sways from a soft croon to a blood-curdling scream.

Brett Bodner Nov 16, 2020

There aren’t many bands out there like A Day to Remember. They’re a group that can hit you with crunching guitars, thunderous drums, and earth-shattering screams while also having the capability to make fast pop-punk songs and gentle acoustic ballads. This sounds like a combination that shouldn’t work, yet they’ve found a way to pull it off time and time again.

ADTR’s fourth album, What Separates Me From You, further proved that A Day to Remember will never fit into a certain mold. They’re going to make the kind of music they want to make, whether that’s fun pop-punk or metalcore. Each A Day to Remember album is a grab bag of genres, but here the band (consisting Jeremy McKinnon – singer, Neil Westfall – rhythm guitarist, Joshua Woodard – bass, Alex Shelnutt – drums and Kevin Skaff – lead guitarist) started to explore their poppier side like they never have before.

Craig Manning Nov 13, 2020

Chris Stapleton, it seems, has little interest in being famous. Five years on from the CMA Awards team-up with Justin Timberlake that made Stapleton a superstar, he’s yet to cash in on his A-list status in any of the significant way, barring perhaps playing concerts in bigger rooms. His follow-up to 2015’s Traveller could have been gargantuan. He easily could have called in another favor from Timberlake for a guest feature, and you have to assume that other famous pop stars, country stars, songwriters, and producers were lining up to work with him. Yet, rather than deliver a bid for crossover success, Stapleton dropped a pair of albums that were, essentially, b-side collections. From A Room: Vol. 1 and From A Room: Vol. 2, released roughly six months apart in 2017, were made up of covers and songs that Stapleton had written during his long career as a writer for a Nashville publishing agency. The songs didn’t grapple with Stapleton’s newfound fame, nor did they really push any boundaries in terms of sonics or structure. Instead, both records played like low-stakes almost-demo collections, with spartan production, no notable features, and no-frills production from Dave Cobb, the same guy who’d sat behind the boards for Traveller.

Kevin Stevens Nov 9, 2020

When reviewing a new record from Sufjan Stevens, at this stage in his 20+ year career, the opening paragraph practically writes itself. You can start by recapping his much-publicized, albeit half-serious, ambitions to create an album about each US state; then discuss his (also ambitious) zany pursuits, many of which involve Christmas songs; then shift to his mid-career pivot towards spazzy electronica; and then take us to his critically acclaimed acoustic works over the past five years. Let’s forgo all that (at least any further) and just state the obvious fact that Stevens’s new record, The Ascension, adds to a singular, shape-shifting discography. Which, if you haven’t listened, or listened much, to any of this output, then I suggest you do not start with Stevens’s newest album, which is not necessarily a “for fans only” release but doesn’t consistently capture the magic of earlier records. Instead, let me suggest the first half of Illinois for dazzling orchestral Americana that sounds as unique now as it did 15 years ago; the last two songs from The Age of Adz for glitchier electronica rooted in folk, as if I’m Wide Awake It’s Morning and Digital Ash in a Digital Urn were synthesized into one record; and the middle of Carrie and Lowell for achingly vulnerable, sparsely arranged songs about abandonment, death, love, and forgiveness.

Adam Grundy Nov 6, 2020

The charming debut record from Lifehouse called No Name Face took a lot of people by surprise when it first arrived 20 years ago. Led by singer/songwriter Jason Wade, the band was able to capture radio magic right from the get-go with their radio mega-hit “Hanging By A Moment.” The song went on to be the most played song of 2001 and allowed for the album to sell over 2.5 million units in the United States alone. Apart from the lead single and introductory song on the record, the LP is surrounded by several well-crafted songs that showcased Wade’s lyrical depth and vocal prowess at the tender age of 20 years old. The band was able to pull on the heart strings of America and made several TV appearances during the promotional cycle of the album. Looking back at this album brought up a lot of memories of listening to this record front to back during the autumn of my senior year of high school. What set Lifehouse apart from most of the other bands I was listening to during this era of music was their way of telling great stories through their music, and it made for an album that would stand the test of time.

Mary Varvaris Nov 2, 2020

There are no ifs or buts about it – SUUNS are a band caught in a unique juncture of past and present on their new EP, FICTION. On the eerie opener, “LOOK,” the Montreal-based band conjures an ominous atmosphere straight off the bat. Vocalist Ben Shemie recalls sermons, his vocals high in the mix; processed to the point where words are unintelligible but that doesn’t even matter. All you can focus on is the feeling “LOOK” demands. “FICTION” takes a leaf out of trip-hop legends Portishead’s books with beats contrasting against a mournful elegy: “Where are you from, you don’t seem to know,” Shemie sings. “Life is long as a day/And one by one, you see them fall/I can’t talk, can’t take anymore.”

Adam Grundy Oct 30, 2020

Every now and then I come across a band who is able to mix so many of the elements I enjoy about music and present it in a pleasing package. Much like my discovery of My Chemical Romance opening up for The Used back in the year 2002, it’s hard to describe the feeling of when you know that a band has that “it” factor. Enter Sarah and the Safe Word, who have crafted their sophomore record called Good Gracious! Bad People that has a blend of Panic! At the Disco theatrics, My Chemical Romance thematic elements, and the Gothic cabaret of the Nightmare Before Christmas soundtrack. The sextet band from Atlanta, Georgia appear poised to take the next dramatic leap into the limelight as their new record delivers all over the board.

Craig Manning Oct 29, 2020

All That You Can’t Leave Behind is not the best U2 album. The Joshua Tree is greater and grander. Achtung Baby is more innovative and more daring. War has more to say. I can see reasonable arguments for preferring most of the U2 catalog over this record—and frankly, many U2 fans do. Even the band’s non-Achtung ‘90s albums—the experimental, occasionally brilliant, occasionally baffling pair of Zooropa and Pop—tend to garner more praise from the average U2 fan than their 2000 comeback. And yet, despite all the criticisms thrown at All That You Can’t Leave Behind—that it’s too safe; that it effectively ends U2’s legacy as a chance-taking band; that it’s as top-heavy as any 2000s record give or take a Hot Fuss—it’s also, by far, the U2 album I reach for most. The Joshua Tree is my go-to favorite, and Achtung is the one I love thinking about most, but All That You Can’t Leave Behind has an advantage over both: something about it just feels like home.

Respire – ‘Black Line’ Track-by-Track Break Down

Review: Miley Cyrus – Plastic Hearts

Review: Billie Joe Armstrong – No Fun Mondays

Review: Silverstein – REDUX II

Review: I Am The Avalanche – DIVE

Interview: Ryan Locke of Seaway

Review: Arms and Hearts – The Distance Between

Review: A Day to Remember – What Separates Me From You

Review: Chris Stapleton – Starting Over

Review: Sufjan Stevens – The Ascension

Review: Lifehouse – No Name Face

Review: SUUNS – Fiction EP

Review: Sarah and the Safe Word – Good Gracious! Bad People.

Review: U2 – All That You Can’t Leave Behind