Review: Calpurnia – Scout

Adam Grundy Aug 23, 2018

On Calpurnia’s debut album, Scout, the four-piece group from Vancouver, Canada show off their garage-rock influences and showcase the promise of a very talented, young band. The band consists of vocalist/guitarist Finn Wolfhard (from Stranger Things), drummer Malcolm Craig, bassist Jack Anderson, and Ayla Tesler-Mabe rounding out the group on guitar and backing vocals. To simply write-off this group simply based on their age would be a big disservice to yourself and Calpurnia.

The EP itself was recorded under the tutelage of producer Cadien Lake James (of Twin Peaks), and what he is able to get out of the four youngsters is remarkable. Not to say that Calpurnia were not capable of this album without James, but the polish and sheen that comes through the speakers is really amazing.

Review: Silverstein – When Broken Is Easily Fixed

Adam Grundy Aug 20, 2018

Looking back 15 years from Silverstein’s debut album is an interesting experiment, now knowing all of the great work they have put forth since. When Broken is Easily Fixed was a compilation of the band’s early EPs, Summer’s Stellar Gaze (2000) and When the Shadows Beam (2002), that were re-recorded for Victory Records under the tutelage of producer Justin Koop. The LP itself went on to sell over 200,000 units, far surpassing any expectations.

I first discovered Silverstein when my college roommate told me I needed to check out this new band on Victory Records named after a children’s book author (Shel Silverstein). That first song he played for me was “Bleeds No More.” I was immediately drawn into the aggressiveness of the track, from the dual-guitar attack of Neil Boshart and Josh Bradford, to the carefully placed screams of Shane Told, the track just clicked. Then as I began to investigate the other songs on When Broken is Easily Fixed, I became drawn to songs such as “Red Light Pledge” and “Wish I Could Forget You,” each with their own personalities and intricate guitar work, precise drumming, and incredible hooks. I really appreciated what Silverstein was aiming for on this release, and I knew that this band in particular was going to do something great in their career.

Interview: Black Dog Prowl

Adam Grundy Aug 16, 2018

I recently had the opportunity to chat with Washington, DC-based band, Black Dog Prowl, in their practice space in the heart of Maryland. They will be releasing a new series of EPs this Fall, and will headline the DC Music Rocks Festival on August 18th at the legendary 9:30 Club. In this interview, we chatted about each of the four band members’ influences, touring plans, and what this next gig means to them.

Review: Thrice – Palms

Jason Tate Aug 15, 2018

This first impression was originally posted as a live blog for supporters in our forums on July 19th, 2018. First impressions are meant to be quick, fun, initial impressions on an album or release as I listen to it for the first time. It’s a running commentary written while listening to an album — not a review. More like a diary of thoughts. This post has been lightly edited for structure and flow.

This new album from Thrice is a tricky one to pin down. I’ve spent the last week trying to figure out the best way to put into words what I think about it and, specifically, what it sounds like. I think going broadly I would describe the album has having a nice groove to it. A groove that reminds me most of Beggars, and one that doesn’t wholly eschew the rock sound they had on their last album, but instead leans into many aspects of that sound in new ways.

Interview: Adam Turla of Murder By Death

Aaron Mook Aug 14, 2018

Writers, much like normal human beings, have a bucket lists. The difference is, our bucket lists contain people – personalities, creators, and yes, other writers that have inspired, comforted, and confounded us with their talents. Many of them will likely remain names on our lists until the day we type our last words, but occasionally, we’re lucky enough to spend a little time with the artists who have influenced us most.

Murder By Death, the Indiana-based kings and queen of gothic folk-rock, have been on my bucket list since I first discovered their catalog a decade ago. I was 14 then, a freshman in high school stealing his older brother’s CDs based on album artwork alone, and the idea of an album telling stories about devils and deserts was already inconceivably cool to me; the fact that this same album featured guest vocals from both Gerard Way and Geoff Rickly only cemented its importance in my mind.

Now, nearly 20 years into their career, Murder By Death exist in the kind of vacuum that contains a dedicated fanbase and a fearlessness to tell any tale they can conjur. It was then my great pleasure to speak with frontman Adam Turla about his penchant for Western-influenced storytelling, the band’s songwriting process, and of course, Murder By Death’s eighth, glam-rock inspired space opera (of sorts), The Other Shore.

Review: The Gaslight Anthem – The ’59 Sound

Craig Manning Aug 13, 2018

Over the course of the past 10 years, few albums from the 2000s have stuck with me quite like The ’59 Sound. One of the undeniable truths of being a consummate life soundtracker is that most of your favorite albums end up being inextricably linked to certain periods of time. You play those records so much when they’re new to you that they become a collage of moments and memories from your life. It’s a beautiful thing when that happens, but it also tends to mean your favorite LPs eventually fall out of regular rotation, as you reach for new music to play that role for new moments and memories. Most of my favorite albums fit into this category. My other 2008 classics—records like Butch Walker’s Sycamore Meadows and Jack’s Mannequin’s The Glass Passenger—are albums I revisit only every month or two, not because I don’t love them, but because they hold so many pieces of my past self within their songs. Those albums could never be life soundtracks to me today, because they already played that role at such vivid and crucial junctures of my life.

The ’59 Sound is different. It’s the rare “favorite record” in my life that isn’t tied to any one specific moment or season or year. It’s a record that has grown with me over time, one that has meant a dozen different things to me from one year to the next. Where other records I loved back then have drifted more into the background, The ’59 Sound is a record I’ve played regularly—probably once every couple weeks, at least—for the better part of the past decade. A part of the reason is probably my initial indifference to the album. The ’59 Sound got a lot of hype in 2008, but my first listens told me it was something dated and backwards-looking: songs stuck in the past that didn’t have relevance to my present. (Note: this opinion is my worst first impression of all time.) Because I was never infatuated with this album like I was with many of the LPs that came out around the same time, I never “wore it out” in the same way.

Review: Dave Grohl – Play

Adam Grundy Aug 10, 2018

Does Dave Grohl ever sleep? The near 23-minute instrumental song, “Play,” features Dave Grohl playing all of the instruments and is chaotic enough just in its concept alone. The “album” itself was recorded at East/West Studios in LA with the audio recorded by Darrell Thorp. The project came together to help promote music education in schools (so hell yeah to Grohl for doing this).

I highly recommend using a nice set of stereo headphones to fully absorb this entire work of art, rather than streaming it through a crappy pair of standard earbuds. This massive prog-rock odyssey is tailor-made for Dave Grohl, and has all of his many influences rubber-stamped over this opus. That being said, Grohl is precise in mastering the art of changing tempos, styles, and genres and knows exactly when to crank it up, or turn it down. The composure he plays with on “Play” is nothing short of a masterpiece.

Review: Bad Rabbits – Mimi

Deanna Chapman Aug 10, 2018

Bad Rabbit’s Mimi brings you seven jams that are perfect for the summer. I’ve been a fan of the band for a while now and they continue to be consistently good. Even if you’ve never heard of the band before, Mimi isn’t a bad place to start. It instantly let’s you know that this band is looking to have a fun time with their music.

Not only do Bad Rabbits have fun, but they blend genres together in a way that flows well. In a way, this is a bit of an experimental album for them, too. All seven songs revolve around a character, Mimi. You see the progression of them meeting, struggling, and more throughout the record. In “F on the Job,” things don’t go so well for our storyteller as he finds himself (rightfully) in jail.

Review: Lovelytheband – Finding It Hard To Smile

Adam Grundy Aug 7, 2018

On Lovelytheband’s debut album, Finding It Hard To Smile, the group grows upon the sound from their debut EP and stretches out the good vibes over the expansive 16-track LP. The new group is led by former Oh Honey lead-singer, Mitchy Collins, guitarist Jordan Greenwold and drummer Sam Price. The group has had over three million streams of their debut single, “Broken,” and has toured extensively since their debut EP dropped in 2017.

The album opens up with the instrumental/atmospheric synth-laden title track, that flows directly into the second track “Pity Party.” The synths and guitars mesh well and play off of each other nicely on this track, as drummer Sam Price sets the pacing brilliantly. The following track, “Make You Feel Pretty,” finds Lovelytheband at the utter-catchiest, with a bouncy verse and upbeat sing-a-long chorus. In the second verse, Collins paints a picture of a relationship that appears to be very one-sided, when he sings, “Oh, I could use a Xanax, maybe that’ll fix this/She’s like an addiction, something I ain’t kickin’ easy/Am I wasting my time?” These catchy, yet relatable lyrics, paint the band as group willing to wear their heart on their sleeves and showcase their vulnerabilities.

Review: Sad Baxter – So Happy

Deanna Chapman Aug 2, 2018

Deezy Violet and Alex Mojaverian make up the duo Sad Baxter. Out of Nashville, TN, the vocals from Deezy instantly made me feel like she could fit right in with the riot grrrl era of bands that reigned in the Pacific Northwest. The instruments give off a garage punk vibe, but the vocals squeeze in some pop elements. “Love Yew” is instantly catchy and a great choice to kick off So Happy.

Review: Mayday Parade – Sunnyland

Adam Grundy Aug 2, 2018

I’ll be the first to admit that I am very, very late to the Mayday Parade bandwagon. Mayday Parade are a band that I would recognize on Warped Tour and the Punk Goes-compilations, tour announcements with other pop-punk bands that I enjoy, and now the new excitement of being inked to a label that truly is passionate about the artists they sign. Rise Records are getting a great piece of music to market from the Tallahassee, Florida quintet.

Before the release of Sunnyland, the group released the well-received Black Lines. As a casual fan of the group, I found the change in styles refreshing, rather than hindering what I always felt the group was capable of making: a solid rock album with killer hooks from start to finish.

Read More “Mayday Parade – Sunnyland”

Review: G Herbo / Southside – Swervo

Tommy Monroe Aug 1, 2018

Swervo is G Herbo’s sophomore album with one of the elite trap music producers, Southside. In a world where gangster rap is noted for its lyrical bankruptcy, G Herbo’s lyrical finesse makes him standout from the crowd of other rappers. This is probably one of the reasons he was described as “The Future” by Drake. Southside can only be described as the godfather of trap producers. He has worked with top rappers and trap artists with his producer tag, “Southside,” as a symbol of his presence on several tracks.

Review: Birds In Row – We Already Lost The World

Drew Beringer Aug 1, 2018

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

Adam Grundy Jul 26, 2018

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

Jason Tate Jul 23, 2018

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.