Yes, it’s been six years since Birds In Row unleashed their devastating Deathwish debut You, Me, & the Violence. Listeners were given a taste of what the band was up to with 2016’s frenzied EP, Personal War, which only left us salivating for more. But in an industry currently dominated by quantity over quality, it’s refreshing that the French trio (operating as single entity under a veil of anonymity just as before), took their time in releasing We Already Lost The World, one of the most punishing hardcore records in recent memory.
Review: Florence and the Machine – High As Hope
On Florence and the Machine’s fourth full-length LP, Florence Welch continues to experiment with expansive backing sounds of string compositions and begins to reflect on her life and relationships leading up to this moment. This album does not have too many up-tempo tracks at its disposal, and for the casual listener, it may come as a surprise that the singles do not stray too far from the rest of the content on this cohesive work of art. Personally, I felt the album would have benefited from an up-tempo rocker or two, to help balance the melancholy sounds found throughout these landscapes.
On the album opener, “June,” Welch sings, “The show was ending and I started to crack/Woke up in Chicago and the sky turned black/And you’re so high, you had to be an angel/I’m so high, I can see an angel.” As Welch opens up about her past drug use, it’s hard to not pull for her in her fight against addiction. “Hunger,” even finds Welch opening up about an eating disorder and uses relationship metaphors as well to describe her struggles. This track is one of the better and more personal pieces that she has composed at this point in her career.
July 22nd, 2003
This weekend marked the 15th anniversary of one of my favorite album release dates in my lifetime. On July 22nd, 2003 both Yellowcard’s Ocean Avenue and Thrice’s The Artist in the Ambulance were released. I was home between my sophomore and junior year of college and both albums imprinted on me like few ever have. Driving around my hometown, seeing old friends, reigniting old flames, these two albums became a part of my summer. AbsolutePunk.net was just becoming something I thought I wanted to do with my life and much of what that website would become was created with these two albums as the soundtrack. I was still very much trying to figure out who I was as a person, and these albums felt like a foothold of hope on the future. Watching Yellowcard’s meteoric rise, a bunch of kids that felt almost like peers, gave me a boost of confidence during a time I needed to think things could get better. The world was changing, my world was changing.
15 years later that summer remains one of the best of my life. The friendships made, the hearts broken, the speakers blown out, it all feels like a moment frozen in time. An idealized summer that probably wasn’t nearly what I’ve made up in my mind all these years later. But I hold it dear nonetheless. And when I put on Ocean Avenue, and hear “Back Home,” I’m transported back 15 years ago when that song meant everything to me. A rallying call for what my life was and a romanticized version for what I wanted it to be. And that feeling of home intersplices with the intensity of Thrice’s The Artist in the Ambulance, an album I used as an outlet for my anger at the world, at the war, at myself and all the chaos that felt just beyond the borders of my hometown. Two sides of me dueling it out through two albums released on the same day, during the same summer.
So, here’s to you July 22nd, 2003. I’ll always remember you fondly.
Review: Dreamers – Launch
The opening of Dreamers’ new EP, Launch, erupts in chaos. With a siren sound launching directly into your eardrums from the opening notes, this band makes it clear that this is a call to arms. Dreamers are from Manhattan, NY, but they recently relocated to Los Angeles to work on a trilogy of EPs on Fairfax Records. Coming off the success of hit singles from the debut album, This Album Does Not Exist, such as “Sweet Disaster” and “Drugs,” Dreamers continue to take advantage of the urgency found in their songwriting style.
Review: Lori McKenna – The Tree
If it takes more than 10 minutes for Lori McKenna’s The Tree to break your heart, you might not have one.
McKenna has always excelled at crafting tearjerkers. In addition to nine previous albums full of (mostly) sad songs, she also wrote or co-wrote songs like Tim McGraw’s “Humble and Kind” (happy sad) and Brandy Clark’s “Three Kids, No Husband” (sad sad). Her latest co-write to move the needle is a Carrie Underwood song called “Cry Pretty” (badass sad). Suffice to say that McKenna is familiar with tears and exquisite, aching pain.
Even by McKenna’s standards, though, the first 10 minutes of The Tree are a doozy. In those 10 minutes, she manages three songs—“A Mother Never Rests,” “The Fixer,” and “People Get Old”—that are bound to put a lump in your throat. The first is a tribute to great moms and all the hard work they do to raise their kids. The second is about a family patriarch who tries to cope with his wife’s ailing health by tinkering with tools and projects. And the third is about McKenna’s father and the slow and steady march of time.
Review: Deafheaven – Ordinary Corrupt Human Love
After a storm comes the calm. Yes, the violent winds and heavy rains of a ghastly disaster will disrupt the life surrounding it, but the calm always follows and prevails. Deafheaven’s fourth full-length album, Ordinary Corrupt Human Love, is that reprieve following the pulverizing storm of 2015’s New Bermuda. Unforgiving in its scope, New Bermuda was a devastating album that encapsulated all of the darkness surrounding the band after breaking through with 2013’s Sunbather. Ordinary Corrupt Human Love sets out to find the humanity within that devastation. So then maybe it’s not incredibly surprising that OCHL opener “You Without End” begins not only with striking grand piano flourishes but also with actress Nadia Kury sober reading of a short story about Oakland. In fact, George Clarke’s simmering vocals don’t enter until three minutes in, taking a backseat to Kerry McCoy’s arena-ready Queen-sized soaring guitar riffs. It’s a proper reintroduction to Deafheaven in 2018, a band that’s wiser, kinder, and more grateful than ever.
Review: Twenty One Pilots – Jumpsuit/Nico and the Niners
After months of teasing brief, unexplainable, clues about when new music would be coming from the ultra-popular group, Twenty One Pilots just casually dropped two great songs in “Jumpsuit” and “Nico and the Niners.” These two blazing tracks come from the upcoming album, entitled Trench, due out on October 5th.
Starting with the lead single, “Jumpsuit,” this dynamic duo have evolved their sound a bit from the multi-platinum certified Blurryface LP, while still keeping the core elements of what makes them who they are on this song. The song starts off with a faint alarm sound, and the trademark drumming of Josh Dun, signaling a call to arms as Tyler Joseph sings, “I can’t believe how much I hate/Pressures of a new place for my weight/Jumpsuit, jumpsuit cover me.” It’s almost as if the two artists know just how much pressure is on them to produce a significant work of art for the rabid fan-base that has been clamoring for a taste of what they had cooked up in the studio.
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Review: Gorillaz – The Now Now
On Gorillaz latest album, The Now Now, Damon Albarn and company tone down the guest artist slots and take a more serious approach to their songwriting craft. This LP, the sixth total for the group, was recorded in February 2018 and has now hit our eardrums a mere 14 months after the release of Humanz. The results of this strategy are well-rewarded as the Gorillaz have crafted an album sure to please their core audience, while still impressing casual fans of the group.
Every aspect of this album showcases the brilliance of Albarn as a songwriter, and they have re-branded themselves as true “artists” right down to the cover art of the familiar ape playing a guitar as if he just sat down to showcase a few tunes for a coffee shop audience. The first track, which features a guest contributor in George Benson, titled “Humility,” showcases some cool jazzy guitar elements and finds Albarn singing, “Reset myself and get back on track,” which could very well be the overall disclaimer for this album. The Gorillaz have found themselves in a new state of mind for this LP and have come back re-focused on a record worthy of your attention and multiple appearances in your new music rotation.
Review: Culture Abuse – Bay Dream
“Be kind to the bees, be kind to the bugs, be conscious of others, be careful with drugs,” recommends Culture Abuse’s vocalist David Kelling on “Bee Kind To The Bugs” before offering up this important reminder: “Be kind to yourself, even though it gets hard, don’t let the distractions stack up to the stars.” It’s that kind of mindset that flows throughout the band’s second full-length (and first on Epitaph) Bay Dream. While the band’s 2016 debut, Peach, garnered a passionate fan base, the actual events surrounding the recording were less than ideal for the band. But the continuous touring on Peach opened Kelling’s mind to how cathartic and positive and that he would be loved just by being himself.
Review: Billy Raffoul – 1975 (EP)
On Billy Raffoul’s debut EP for Interscope Records, entitled 1975, Raffoul capitalizes on his strengths: powerful, soulful lyrics and precise musicianship. At just 23 years old, Billy Raffoul mesmerizes on this EP with his bluesy vocals and pain-felt delivery of every lyric. On top of that, he’s an incredibly talented and underrated guitarist.
On the first single released from the EP, called “I’m Not a Saint,” Raffoul belts out that “I’m not a saint/But I could be if I tried.” With the earnest and heartfelt delivery found on this track, you would be hard pressed to not be a believer in what he sings about. With an almost everyman-type approach to his songwriting, much like DIY-ers Brian Fallon and Butch Walker, Raffoul makes you really feel what he was going through when he wrote this songs that are easily relatable, while simultaneously brilliant.
The Best Albums of 2018 (So Far)
I think I say this every year but fuck it – the music 2018 has blessed us with in its first six months has been extraordinary. With all the insane shit happening around us and to us in this day and age, it feels like music is the only sane thing we have. So below we have our top 20 favorite releases of the year thus far. If you can’t find something to love on this list then you just aren’t trying hard enough – this is an eclectic list that encompasses multiple genres and styles. I can’t wait to see what the next six months brings to our ears.
Note: You can share your own list in our music forum.
Review: Marshmello – Joytime II
Marshmello, the anonymous producer and DJ, has been taking the music industry by storm since his remix of Jack U and Justin Bieber’s global hit “Where Are U Now.” With hits like “Moving On,” “Wolves,” and “Silence,” he has become one of the fastest rising dance producers in the industry. As the layers of mystery continue to surround the man behind the mask, there is no doubt in Marshmello’s ability to make electronic music that pops. Joytime IIis his 9-track sophomore album.
Interview: Late Bloomer
Late Bloomer is about to release their third-full length album, Waiting. I caught up with the band — bassist Josh Robbins, guitarist Neil Mauney, and drummer Scott Wishart – to talk about how things changed writing this album, which is out June 29th via 6131 Records, and available for purchase through their webstore.
Interview: Pat DeFrancisci of Tru
I recently had the chance to chat with frontman and guitarist Pat DeFrancisci from a band called Tru, located in New Jersey. The group has recently released an EP called Growing Pains that reminded me a lot of a mix between Weezer’s instrumentation and Stone Temple Pilots’ vocal-approach. In this interview, Pat discusses their approach to songwriting, their key influences, and the story behind the creation of the EP.
Review: Courtship. – Denial in Paradise
I stumbled upon this new band, Courtship., while attending a concert in Washington, DC where they opened for Night Riots, and I immediately gravitated towards a sound that reminded me of synth-pop veterans such as Smallpools, Foster the People, and Great Good Fine Ok. On Courtship’s debut album, Denial in Paradise, I’m extremely grateful I found this LA-based artist, as they have encapsulated all of their high-energy showmanship directly into their debut album.