Review: Dave Grohl – Play

Dave Grohl - Play

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.

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Review: Bad Rabbits – Mimi

Bad Rabbits - Mimi

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.

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Review: Lovelytheband – Finding It Hard To Smile

Lovelytheband

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.

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Review: Mayday Parade – Sunnyland

Mayday Parade

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.

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Review: G Herbo / Southside – Swervo

G Herbo - Swervo

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.

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Review: Birds In Row – We Already Lost The World

Birds In Row - We Already Lost The World

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.

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Review: Florence and the Machine – High As Hope

Florence and the Machine

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.

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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

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.

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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.

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Review: Deafheaven – Ordinary Corrupt Human Love

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.

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Review: Twenty One Pilots – Jumpsuit/Nico and the Niners

Twenty One Pilots - Trench

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

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.

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Review: Culture Abuse – Bay Dream

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.

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