Review: Foreign Air – Such That I May Glow

Foreign Air - Such That I May Glow

Foreign Air are onto something truly great and moving on Such That I May Glow, their third full-length album to date, and ultimately their most complete artistic statement to date. The band first gained viral success from their debut single that was featured in several prominent ads, called “Free Animal,” that brilliantly showcased what Foreign Air were capable of creating when the duo of Jesse Clasen (lead vocals/guitar) and Jacob Michael (guitar/bass/synths/programming/backing vocals) came together. The band seemed to have gained a certain confidence and swagger that comes through well on this album that is brimming with unlimited potential for where Foreign Air can go from here. The band is somewhere in the same artistic realm as Sir Sly, JR JR, and The Naked And Famous, with a slick self-produced sound on Such That I May Glow, that is quickly becoming one of my favorite releases of not only the synth-wave genre, but also for this entire year.

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Interview: Huddy

Huddy

Recently I was able to schedule a Zoom call with musician and actor, Huddy, to discuss his new single and video treatment for a key song called “Fragile.” In this interview, I asked Huddy about the difference in preparing for an acting role versus performing for a live concert, where he finds most of his inspiration for his art, and the plans for the future. If you’re enjoying the interview, please consider streaming Huddy’s music here.

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Review: Hayley Williams – Ego Death at a Bachelorette Party

After the surprise drop of 17 new singles that mysteriously appeared in late-July on the official website of Hayley Williams, the singles got an official streaming release on August 1st. Williams’ move set the record industry a bit aghast, as these songs live without a true “home” (as of this writing) of a standard album, no official tracklisting, and a litany of interpretations from longtime fans of the Paramore front-woman. Simply dubbed as Ego, these new songs are brimming with unlimited potential and purpose. 2020’s Petals for Armor highlighted what Williams could do on her own with her vibrant and infectious personality, and paired it with the long-documented trauma of her past divorce, while the 2021 sophomore follow-up of Flowers for Vases / Descansos backed up my feelings that Hayley Williams was more than capable of letting her star shine brightest without the umbrella of Paramore. Ego, while not officially dubbed as the third album from Williams, still plays out with a clear vision and bating heart behind these 17 tracks that accentuate her ability to convey a wide range of emotions in her vibrant music. Not one for conforming to the norms of the music industry, Ego re-imagines the possibilities of what music is and can be about as Hayley Williams re-cements herself in the singer-songwriter genre with a brilliant artistic statement.

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Review: Filter – Short Bus

Filter - Short Bus

The story of Filter began when lead singer/band founder, Richard Patrick, mentioned in past interviews that when he was chatting with his touring bandmate of NIN singer (Trent Reznor), he suggested that Patrick make his own record while Nine Inch Nails went off to record their now-classic of The Downward Spiral. The tunes that Richard Patrick crafted on Short Bus were heavily influenced by his time in touring with NIN, yet they feature a lot more guitar parts in them to set Filter on a different artistic course than the aforementioned other touring project. Short Bus was released on April 25th, 1995, and has sold over a million copies in the U.S., spearheaded by the breakthrough success of Filter’s debut single of “Hey Man Nice Shot.” The set was co-produced by Richard Patrick and his musician friend, Brian Liesegang, who conceived the idea of Filter in the early 90’s. During the recording sessions, Patrick acted as the primary songwriter/bassist/vocalist, while Liesegang primarily handled production duties and programming the drum machine they used on Short Bus, and the duo split the guitar duties. While the band’s sophomore record, Title of Record, would blast Filter into the Alt Rock mainstream with the soft rock hit of “Take A Picture,” Short Bus is ultimately the album that longtime Filter fans point to as the key moment in time when Richard Patrick and Brian Liesegang were at their creative peak.

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My Life In 35 Songs, Track 22: “Handwritten” by The Gaslight Anthem

My Life in 35 Songs

Here in the dark, I cherish the moonlight/I’m in love with the way you’re in love with the night.

It got warm early that spring. I remember that much vividly.

There’s a night from April 2012 that sticks in my head, where my college roommates and I got drunk off beer and long island iced teas and sat out on the deck of our apartment until the wee hours of the morning, so amped up by the alcohol and the unseasonable warmth of the night that we were almost howling at the moon. It felt like summer, and we were absolutely acting like it was, even though it was a Wednesday night and we all had early classes the next morning.

I hadn’t heard a note of The Gaslight Anthem’s Handwritten when that night happened, but for whatever reason, when I think of this album, that’s the night I remember. Maybe it’s because I was already anticipating Handwritten with as much fervor as I’d ever anticipated any album before. Or maybe it was just because that night felt like a Gaslight Anthem song: the friends, the instant nostalgia, the magic in the night. Whatever the reason, I’ve always thought it was funny that my most vivid memory of one of my favorite albums is from a night before that album even existed out in the world.

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Review: Bad Suns – Accelerator

Bad Suns - Accelerator

Bad Suns are on the right trajectory on their fifth studio album, Accelerator, that leans heavily into lead vocalist/guitarist Christo Bowman’s personal life. Bowman has a lot to be thankful for: a beautiful wife and growing family that now includes a child, and it becomes increasingly evident on this new LP that he is also truly coming into his own as a gifted songwriter with a clear vision for the music he’s making. Accelerator is Bad Suns’ first full-length studio album in three years, while the last time we heard music from the band was in the form of a 2023 EP, named Infinite Joy, that gave clues as to where the band could and would take their music in the future. The overall flow of Accelerator is well-organized, meaningful and brimming with excitement from start to finish. Through Bowman’s lens of how he sees the world, musically, Bad Suns have simultaneously made their most personal and best record to date.

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Review: Hayes Carll – We’re Only Human

Hayes Carll feels like a man on a mission on his latest record, We’re Only Human. This country singer-songwriter shimmers and sways all over this ten-track LP that is brimming with great lyrical undertones, vivid imagery and storytelling, paired with ultra-solid musicianship. We’re Only Human is Hayes Carll’s ninth studio album to date, and he wastes little time getting to what’s on his mind lately on this latest effort that is worthy of your time. With key singles like “High”, the upbeat romp of “Progress of Man (Bitcoin & Cattle)” and the opening title track that explains, “We’re only human / That is all / Just walking the rope between fear and hope / And knowing we’re gonna fall / ‘Cause we’re only human,” Hayes Carll weaves a tangled web of intricate melodies on this record that fits somewhere in the realm of Zach Bryan, Jason Isbell and Bob Dylan.

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My Life In 35 Songs, Track 21: “Holocene” by Bon Iver

My Life in 35 Songs

At once I knew: I was not magnificent.

If you want a cheat code for making every piece of art you see or hear suddenly seem incredibly moving and profound, might I suggest suffering the most crushing failure of your life?

Justin Vernon knows a thing or two about heartbreak and failure. For years and years, the singer-songwriter behind the Bon Iver project was perhaps the person in the indie rock world most synonymous with sadness. Bon Iver’s debut, 2007’s For Emma, Forever Ago, was famously the outcome of Vernon retreating to a remote Wisconsin cabin to nurse a broken heart. The follow-up, 2011’s Bon Iver, Bon Iver, was far more sonically audacious, but often circled back to the same kind of tender pain as its predecessor – especially on “Holocene,” my favorite Bon Iver song, and one of those songs that will always, always put a lump in my throat.

For Emma, Forever Ago is one of my go-to wintertime albums. I fell in love with it during the December of my senior year of high school, listening to those delicate, beautiful songs over and over while driving to school on cold, snowy mornings. A choir kid in high school, I loved how Bon Iver songs felt almost choral in their composition, with Vernon frequently layering his falsetto vocals on top of one another in songs like “Lump Sum.”

Bon Iver, Bon Iver felt different. A summertime release that I listened to for the first time in the midst of a mighty northern Michigan rainstorm, that album came to evoke for me, so clearly, the feel of muggy summer nights. Where For Emma, Forever Ago had essentially become Christmas music to my ears, the follow-up was a go-to driving soundtrack for late, late nights that summer. I especially loved how the closer, the ‘80s-washed power ballad “Beth/Rest,” sounded against the backdrop of pitch-dark roads.

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Review: Good Charlotte – Motel Du Cap

Good Charlotte have returned with their first studio album in seven years, called Motel Du Cap, and it is an exploration of the band’s humble beginnings, while still offering a few new musical elements to further the artistic direction of GC. The music landscape has changed quite a bit since Good Charlotte last released Generation Rx. Country artists are predominantly taking the top spots on the Billboard 200, while rock/punk music has offered some really cool emerging artists in the scene such as Turnstile, Pinkshift and Moving Mountains, just to name a few. So where does Good Charlotte fit in? The answer can be found by checking in to Motel Du Cap and hearing the Madden brothers’ unique perspective on how far they’ve come together, their past trauma, and overall outlook on life. The set was produced by Johan Carlsson, Zakk Cervini, Jordan Fish, Andrew Goldstein, and Charlie Puth, and is armed with 13 songs in total. Four of the tracks include guest artist spots, and Good Charlotte do a commendable job of not only paying homage to their past legacy as a band, but showcasing their staying power in our scene.

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Pool Kids

Pool Kids

Recently, I was able to schedule a Zoom call with Christine Goodwyne (vocals/guitar) and Andy Anaya (guitars) of Pool Kids, ahead of the release of their great new album called Easier Said Than Done, out digitally via Epitaph on August 15th. In this interview, I asked Pool Kids about the unique artwork behind their new LP, what they did differently during their creative songwriting process, and which songs were the trickiest to pen on Easier Said Than Done. Pre-orders are up for the vinyl here.

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Interview: Christo Bowman of Bad Suns

Bad Suns

This past month I was able to connect with lead vocalist/guitarist, Christo Bowman, of the indie rock band, Bad Suns, to discuss what went into the band’s excellent fifth studio album, called Accelerator. In this interview, I asked Christo about his new foray into fatherhood and the affect it may influence in his future songwriting, plus Christo provided a detailed walkthrough of Bad Suns’ discography, and we also dove deep into the personal lyrical material found on Bad Suns’ latest album. Accelerator releases this Friday, August 8th via Epitaph Records and you can purchase the record here.

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My Life In 35 Songs, Track 20: “The Sound of You and Me” by Yellowcard

My Life in 35 Songs

I’ve never been more ready to move on.

I felt like I was escaping from prison.

In the car, fleeing campus at the end of my sophomore year of college, I got a legitimate adrenaline jolt, because a part of me couldn’t believe that this long, arduous year was finally drawing to a close. 12 months earlier, I’d pulled away from my freshman dorm feeling positive about college and extremely hopeful about the summer to come. Now, I wondered in the back of my mind whether I’d ever come back to this school again. Why had that one year made such a difference?

Fortunately, I still had a lot of hope for the summertime. For months, I’d had this day circled on the calendar, a mental “finish line” where everything that had been out of whack in my life would click back into place. I’d go back home; my girlfriend Jillian and I would be reunited; I’d go back to the summer job I loved, performing at the local dinner theater; winter would finally lose its oppressive hold on Michigan and I’d get to roll down the car windows and feel the wind blow back my hair as I blasted summertime songs on the stereo.

I even already had a summertime soundtrack picked out. On March 22, 2011, Yellowcard, one of the preeminent “summer soundtrack” bands of my youth, had released their first new album in four years. Called When You’re Through Thinking, Say Yes, the album was packed with big anthems that were begging for precisely the type of windows-down car rides I mentioned above. There’s even a song on that album, called “With You Around,” where the chorus goes “All I can think about is you and me driving with a Saves the Day record on/We were singing ’til our voices were gone.” I listened to that album on repeat during my final month of sophomore year, trying to will summertime to get here a little faster, because I’d never needed it more.

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Review: Blindside – The Great Depression

Blindside - The Great Depression

The twentieth anniversary of the fifth studio album by Blindside is coming up this weekend, so it’s time to revisit The Great Depression. The album was largely influenced by a trip to Africa that their lead singer, Christian Lindskog, which left the singer “unsettled” by his experience and the things he saw vastly influenced the direction of the record. The LP also found Blindside going with an independent label, after the moderate commercial success of Silence and About a Burning Fire, and deciding to work with a different producer as well in Lasse Mårtén. While I felt the pairing of the previous two records with veteran producer, Howard Benson, was a match made in music heaven for Blindside, The Great Depression is truly an “artist’s record” in that the band was beginning to see the world through a much different lens. The set would spawn two singles in “Fell In Love With The Game” and the reflective “When I Remember,” but had trouble gaining traction commercially. The album is still adored by many Blindside fans to this day, and it’s easy to see why after a fresh listen. The Great Depression marked a significant shift in Blindside’s artistic direction, and left hints as to where they would take their sound on subsequent releases.

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Interview: Jay Malcuit of YUNGER

YUNGER

Recently, I was able to schedule a Zoom call with Jay Malcuit, the lead vocalist of a rock band called YUNGER, who have released a hard-hitting dual single in “Alive”/”Sinner”. In this interview, I asked Jay about what went into the writing and recording process of the single and the 7″ vinyl, his on-stage “persona”, and much more. If you’re enjoying the music and interview, please consider purchasing the 7″ single here.

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