Review: Mike Frazier – Where The Valley Kissed The Sky

Adam Grundy Jun 5, 2019

Let me introduce you to Mike Frazier, an ultra-talented singer-songwriter from Virginia who has a knack for showcasing the wide range of emotions that go into telling captivating stories through his music. Frazier wastes little time getting to the point he wants to get across in a brief, 9-track album called Where The Valley Kissed The Sky. The collection is a very loose concept album of Frazier’s time spent traveling from town to town and working different jobs in the valley. A lot of his observations through this album’s lyrical content show a changing economic landscape and how it impacts the average person living in these rural areas of the country.

Review: The Dangerous Summer – Mother Nature

Craig Manning Jun 4, 2019

Expectations can mess with your mind as a music fan. We all have favorite bands, but there’s a weird sort of contradiction where those favorite bands are also the ones most likely to disappoint us. Hearing a new record from an unfamiliar artist and having it blow the doors off your mind is a wonderful kind of madness, but it’s also impossible to replicate. Loving an album means accumulating baggage with it—the baggage of years and memories and emotions entwined with the songs. When the next album from that same band comes along, it’s easy to feel let down. Even if the record is good—even if it’s great—expecting it to recapture the magic of the first time is a recipe for disappointment. Virtually every band or artist that has ever made a beloved album contends with this cycle eventually, and it’s part of the reason why most bands don’t last very long. It’s also why maybe the only thing more exciting than having that lightning bolt moment with a new band is hearing one of your favorite artists raise the bar, change the game, and shatter every expectation you had of what their music could sound like, circa right now.

Mother Nature, the fifth LP from The Dangerous Summer, is that kind of album. It takes a band that previously felt like a faded version of its glory days and breathes immense new life into their sound. It makes you excited for this band again, and for what their path might look like going forward. It creates spine-tingling moments of pure catharsis, but in a different way than this band did on their previous beloved albums, 2009’s Reach for the Sun and 2011’s War Paint. And it immediately makes reservations for whole lot of windows-down, sunny-day drives this summer. It’s the right album, at the right time, from a band a lot of people had written off or counted out. And it feels fucking great.

Review: Middle Kids – New Songs For Old Problems

Adam Grundy May 29, 2019

The opening verse of the new EP from Middle Kids sets the tone for what’s to come on this thrilling record: “We accept all beliefs and prayers/But if you don’t agree, you can sit over there/Express yourself with personal flair/But first check that it fits with the kids upstairs.” These lyrics stuck with me since it in many ways encapsulates all that goes into today’s society of expressing yourself, but not impeding on others beliefs. At times we can be so ingrained into what we believe to be morally right or just, that we may forget that many others don’t think the same way as us.

Coming just a little over a year from their debut full-length LP, Lost Friends, Middle Kids expand upon their sound in exciting ways on New Songs For Old Problems. Whereas their debut album found the Australian band figuring out their sound, this new record finds them at their most accomplished and confident.

Review: The Obsessives – The Obsessives (Deluxe)

Adam Grundy May 21, 2019

On March 17th, 2017, Washington, DC’s indie rock/emo pop band, The Obsessives made their mark on the scene with an already dense and musically packed debut record. Fast forwarding to today, the band has re-released their debut LP with an additional ten tracks for a more complete picture of their recording process during the self-titled sessions. Citing musical inspirations from bands such as Weatherbox and The Pixies, The Obsessives waste little time in putting their stamp on their re-imagined record.

Review: AJR – Neotheater

Adam Grundy May 20, 2019

The process of growing up and figuring out this crazy thing called “life” comes in phases for a lot of us. First, there is the transition from being a kid to a young adult (with moderate changes in responsibilities), and then a young adult to a full-fledged adult (with major repercussions and changes all across the board). These transitions are messy, awkward, and at times too much to handle on our own. AJR come to terms with the latter transition on Neotheater semi-gracefully.

Most of the lyrical content and story-telling is thru the lens of lead vocalist, Jack Met, who is only 21. AJR is comprised of two other brothers, Adam and Ryan Met, to round out the multi-instrumentalist band that changes styles, genres, and tempos whenever they feel the need for it. Jack sums up the process of growing up on the opener “Next Up Forever” by stating, “I know I gotta grow up sometime, but I’m not fucking ready yet.” Many of us can relate to this situation of taking on newer roles and responsibilities as we age, yet Jack tends to take most of this in stride as we navigate through the LP.

Review: Alex Lahey – The Best Of Luck Club

Mary Varvaris May 17, 2019

Alex Lahey ‘s brand new album, The Best Of Luck Club, couldn’t come at a better time. Released on the eve of the Australian federal election, Lahey confronts the pains of millennial struggles through her universal approach to songwriting. She seamlessly integrates the personal and couples it with anthemic, searing pop-punk melodies. Like her stunning debut, I Love You Like A Brother, Lahey demonstrates that she holds numerous smashing hooks under her belt. The Best Of Luck Club picks up where Lahey left off, but races forward. There’s more ballads, unexpected instrumentation, and the lyricism we’ve come to know, and love is even greater.

Review: Big Nothing – Chris

Adam Grundy May 14, 2019

Setting the stage for a memorable introduction, Philadelphia’s own, Big Nothing, showcase some great punk and driving melodic rock on their debut LP, Chris. With three band members (Pat Graham, Liz Parsons, and Matt Quinn) sharing vocal duties, they are plenty of bright spots to be found on this collection of songs that fit together snugly over 11 tracks that clock in just over 30 minutes. Drummer Chris Jordan (formerly of Young Livers) rounds out this band that has no shortage of musical experience or talent. The themes of emptiness, the search for meaning, and desire to be accepted are apparent even as each band member brings their unique songwriting approach to Chris. Right down to the album artwork depicting a lonely restaurant with very few patrons, it’s apparent that Big Nothing is unafraid to embrace the uncertainty of starting anew and building from the ground up.

Review: An Horse – Modern Air

Adam Grundy May 10, 2019

Typically when bands take a hiatus, it can have a damaging effect on both the band and their fanbase alike. Much like a train falling off the tracks, sometimes these events can have severe consequences on a band’s ability to come back, regroup, and remain focused on putting out great music for the right reasons. Luckily, An Horse are one of those bands whose hiatus worked well in their favor, as they sound refreshed and reenergized with a collection of songs made directly for their longtime fans. Modern Air captures the earlier magic of their first two albums, while still coming up with a few new tricks along the way to acquire some new fans along the way in their rebirth.

Review: Culture Wars – Let Me Down

Adam Grundy May 9, 2019

On the latest single from the Austin rock trio, “Let Me Down” finds Culture Wars navigating through a difficult relationship that is starting to drift astray. Lead vocalist Alex Dugan wears his heart on his sleeve with lyrics such as, “I don’t want to fight no more/Voicemail right away/I know how this goes.” His vocal delivery comes across as earnest, heartfelt, and powerful all at the same time.

The song is masterfully crafted around a guitar riff through the verses and builds up to a great pre-chorus that eventually explodes into a catchy hook. Lead guitarist and electronic musician Mic Vredenburgh allows the song to brood with confidence at he provides a vast, yet dark landscape to complete the picture of Dugan’s vision. Drummer David Grayson knows just when to give delicateness to the beats in the verses, and provides pulse-pounding fills in the chorus to allow the track to soar to new heights. It’s there on the chorus where Dugan confesses, “I’m just waiting for you to let me down/So get all the way, get all the way down.” The track itself allows for thoughtful reflection in the verses, while still allowing the listener to dance their cares away in the chorus.

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In the Spotlight: 50 Bands You Need to Hear in 2019 (Part Two)

Jason Tate May 7, 2019

Yesterday we brought you part one of our annual In the Spotlight feature, and today I’m excited to bring you part two.

You’ll find the second group of 25 artists, along with blurbs, recommended songs, and sounds like comparisons, below. Tomorrow we’ll share a playlist of songs from the included artists.

In the Spotlight: 50 Bands You Need to Hear in 2019 (Part One)

Jason Tate May 6, 2019

Today I’m excited to launch the third version of our In the Spotlight feature. This is the annual feature that continues the tradition of the “Absolute 100” and hopes to introduce you to a whole bunch of new music that should be on your radar.

Just like years past we’ve compiled a list of 50 artists we think are worth your time. Some of the artists recently released their debut albums and some have been around for a while now. However, the one thing they all have in common is that we think they should be in the spotlight and are worthy of your ears. You’ll find the first group of 25, along with blurbs, recommended songs, and sounds like comparisons, below. We’ll release the second batch tomorrow and a playlist of songs from the included artists on Wednesday.

Review: The Damned Things – High Crimes

Adam Grundy May 3, 2019

What do you do when you get the second album from a band that you thought would never record a follow-up? For starters, you can begin by thanking your lucky stars, especially when the sophomore record surpasses your expectations on what the band was capable of putting into existence. High Crimes delivers all over on the raw, yet incredibly catchy follow-up to The Damned Things debut, Ironiclast.

High Crimes erupts in chaos and into a wall of sound from the opening notes of “Cells,” with some sped-up guitars courtesy of Joe Trohman (Fall Out Boy) and Scott Ian (Anthrax), and the trademark wail of vocalist Keith Buckley (Every Time I Die). The truck pulsates with the drumming of Andy Hurley (Fall Out Boy) and bassist, Dan Andriano (Alkaline Trio). As far as “supergroups” are concerned, The Damned Things have no shortage of talent in every facet of their attack.

Drew’s Untitled Review Roundup – Vol. 2

Drew Beringer May 2, 2019

On the latest edition of Drew’s Untitled Review Roundup (or DURR), I dive into some of the more underrated emo records of the year plus a surprising addition to the metalcore canon from an unlikely group of musicians. As always, thank you for reading. Enjoy Volume 2 of DURR.

Review: The Dangerous Summer – Reach for the Sun

Craig Manning May 2, 2019

It’s funny the way that albums can mark time. How hearing the right songs at the right moment can make them sound like more than songs, or how going back to those songs after 10 or 15 or 20 years can reawaken every feeling you had when you first heard them. It’s funny, too, how the music that does those things to you might not do anything for anyone else. How something can be an incredibly meaningful and important document of your past, but just sound run-of-the-mill to someone else. Or how, if you’d heard an album a decade or a year or six months too early or too late, it might just be a footnote in your musical history rather than a symphony.

No album has ever taken me more by surprise than The Dangerous Summer ‘s Reach for the Sun. I didn’t see it coming, and I wasn’t looking for it. I had no knowledge of the band or their past work, no clue what they sounded like or what their songs might have to say about my life. I just read a rave review of the album one day on AbsolutePunk and decided to give it a shot. Ten years later, those songs still shoot shivers down my spine and choke me up, because they sound like the cusp of adulthood, and like all the friends and memories I’ve left behind in the past decade.

Reach for the Sun had remarkable timing. Its release date was May 5, 2009, just as spring was bursting into full, glorious bloom. I first heard it on May 3, in the early evening, coming out of old boombox speakers in my bedroom, with the gentle glow of the sunset streaming through my window. The day before, my sister had graduated from college. In another month, I’d graduate from high school. My parents and I had driven home, from Ann Arbor to Traverse City, that afternoon. I had a boatload of calculus homework to do and was dreading the evening. AP exams were just days away, and I needed to buckle down and focus. Certainly, I knew I needed a good soundtrack for the study session. So I downloaded this record on the recommendation of a glowing 95 percent review from Blake Solomon and loaded it onto my iPod.

Review: Fury – Failed Entertainment

Mia Hughes May 1, 2019

In 1991, on Fugazi’s ‘Stacks,’ Ian MacKaye sang, ‘America is just a word but I use it.’ Minor Threat, the hardcore band that MacKaye was best known for before Fugazi, didn’t deal with concepts like that; theirs were personal politics, the friends who had betrayed you or the assholes who pissed you off. Their outlook was rigid, little nuance or philosophical thought, and the standard template for hardcore remains as such. MacKaye grew tired of hardcore before long, though, of its violence and rigidity. Fugazi, in a lot of ways, was an anti-hardcore band. Their rich and complex musicality couldn’t be further from Minor Threat’s fast, loud and sloppy approach, and their lyrics offered political and social commentary that was intelligent and nuanced. It was post-hardcore.

On ‘Birds of Paradise,’ a track halfway through Fury’s Failed Entertainment, vocalist Jeremy Stith declares, ‘US of A, just an idea to me.’ Fugazi’s semantics are echoed, but the similarity stretches further than that; this too is a record that reaches beyond what hardcore tends to be. The crucial difference is that Failed Entertainment is, unmistakably and proudly, a hardcore record.

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