Review: Yellowcard – Better Days

Yellowcard - Better Days

This blank screen terrifies me. The cursor blinks. I search for the words. And in the back of my mind, there’s a cold little voice telling me it’s pointless. That I’ve said everything meaningful I’ll ever say about music. That I’m washed up and irrelevant. That the music I care most about, and the medium by which I communicate my love for that music, has passed me by. The voice whispers. And I hear the soundtrack to my life softly echo through my head like an abandoned radio station hallway. The fluorescent marquee sputtering, fizzling, and coughing up the bygones of a lost era. My era.

The empty space sits like a verdict — relentless, accusatory.

This is the kind of tension that comes with age. No one ever told me my youthful anxiety of never amounting to anything would morph into being worried I’ll only be remembered for what’s behind me. And it’s a funny kind of cruel, because I’m a little ashamed to admit it. But, honestly, I’ve been thinking about all of this a lot lately. The past, the glory days of the punk and emo scene. Growing up, giving in, the bands that have come and gone. And I’ve been thinking about the pressure that builds over time, how the momentum of not doing becomes intoxicating. By not doing, you never have to worry about failure. You can make up stories in your head about all the reasons it’s not worth trying, and your ego stays nice and protected.

But I’ve also been watching all these artists push against that pressure, lean against that momentum, and emerge bursting with creativity and a newfound sense of purpose. Freed of the shackles of needing to live up to the expectations of being the next big thing, or having to follow up their massive hit records, they’re able to tap into a creative force and deliver music that moves beyond just being a nostalgic feint. And it inspires me. I’ve been spending the past few months immersed in new music from the bands only we knew. Bands with funny names like Motion City Soundtrack, The Format, and The Starting Line. Little gems from our youth that always felt like a shared secret — ours and ours alone.

And that voice in my head? That one that tells me to stop trying, that no one reads anymore? That asks if our past is the best we will ever know? I know the antidote. I’ve known it most of my life. It involves headphones, a volume slider, and a great fucking song.

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Review: Green Day – Warning

Green Day - Warning

The sixth studio album from Green Day, Warning, tends to get forgotten way too often, and yet it has all the makings of a killer record from the punk band. The LP finds Green Day at arguably their most melodic, and there’s no denying the catchiness of these songs that were self-produced by the band. Coming off of another breakthrough success in 1997’s Nimrod that spawned the smash single of “Good Riddance (Time of Your Life)” that was literally everywhere when it was released, Green Day could’ve gone in a multitude of directions on this follow-up. There’s something really endearing about a band willing to take some creative freedom by self-producing their music at this stage of their career when their songwriting was truly blossoming at the right time. The set has now gone on to sell over 1 million units in the States, while selling over 3 million copies worldwide. Any other band would give their left arm for those numbers, but Green Day would brush off any talks of Warning being a commercial disappointment by going even bigger and bolder on their punk rock opera known as American Idiot in 2004. Warning deserves another look on its 25th anniversary, and it’s one of my favorite pop-punk records of all time.

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My Life In 35 Songs, Track 29: “Carry Me Home” by The Alternate Routes

My Life in 35 Songs

We got the street lights, we got it all right, we got this whole night, carry me home

There’s this stretch of roadway just south of my hometown that I’ve always loved, where you go around a bend and suddenly find yourself surrounded on both sides by towering pine trees. The road gradually climbs from there, taking you out of this beautiful, tranquil valley. But the feel of that short passage – the indescribable power of those trees and the many, many years they’ve been there – lingers for the rest of the drive.

Throughout my life, that spot on the road has always been the checkpoint – the spot where, when I pass through it, I know I’m home again. I came to feel that way during college, when I drove that road literally hundreds of times to get back to my parents’ house – for weekends, or Christmases, or summer vacations. I kept feeling that way after I graduated, when the visits home became less frequent, and therefore, that much more precious. I still feel that way today, when I come back into town after a vacation, or even after a quick jaunt downstate for a concert. No matter how many times I pass into that forest of pines, I always feel the same way about it, like I’ve just entered the gravitational pull of the place I love most, and can lay whatever burdens I’ve been carrying down. “Rest easy child,” those trees seem to whisper; “everything will be alright. You’re safe here.”

“You’re home.”

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Review: AFI – Silver Bleeds The Black Sun

AFI - Silver Bleeds The Black Sun

Reinvention has its way of taking many different forms. A reinvention of style or a new choice of clothing can lead someone else to think a person we thought we knew is trying out new things. When it comes to music, AFI have never shied away from their own reinvention as they have gone from album to album in their storied career. Their newest record, Silver Bleeds The Black Sun, once again finds the four-piece band on the precipice of another moving reinvention as they move away from some of the post-punk and electronica-tinged rock of Bodies and perhaps even what was found on AFI (The Blood Album). Instead, this latest taste of music leans into AFI’s ability to captivate through a variety of stylistic choices made strategically at the right moments in time to achieve the greatest impact. Silver Bleeds The Black Sun feels a bit like the encapsulation of all the styles AFI have been known for over their 34+ year career, and goes big into arena rock moments paired with gothic sensibilities to remind The Despair Faction that this is still the same band they fell in love with and have seen evolve with grace. Just when you think that you’ve got a handle on what AFI is and the sound you expect to hear on subsequent releases, the band turns expectations on their head and finds unique ways to continue their unwavering evolution.

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Review: Thrice – Horizons/West

Thrice - Horizons/West

Thrice have never been strangers to taking a leap of faith in their career. From the early metal days of crowds shouting at them to “Play ‘Deadbolt!'” from The Illusion of Safety, to the risk/reward effort found on Vheissu, all put on a spin cycle throughout their stunning post-hiatus output that includes some of my favorite records of all time, Thrice keep on truckin’ along with veteran ease on Horizons/West. A direct sequel to the sound and direction the band took on Horizons/East, I feel like this second part is a better version of Thrice and finds them reaching deep into their bag of tricks while not losing the magic that made them such a fun band to be a fan of in the first place. “This is the first time we leaned into something that felt like a direct continuation, like a sequel to a previous album,” says frontman Dustin Kensrue. “A lot of this record is about parsing reality,” Kensrue explains. “We’re constantly being influenced by algorithms, by fear, by our own social echo chambers. Horizons/West tries to pull the curtain back on some of that. We’ve always just followed our curiosity, wherever it leads. We want to keep growing, exploring, and making something that feels honest to who we are right now.” By keeping their artistic integrity firmly intact, Thrice quickly showcase why they’re one of the best and consistent bands to ever grace our scene.

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My Life In 35 Songs, Track 28: “Dibs” by Kelsea Ballerini

My Life in 35 Songs

If you got a Friday night free and a shotgun seat/I’m just saying I ain’t got nowhere to be

Sometimes, in life, it’s nice just to stop for a minute and take a breath.

That’s how I felt in the spring of 2015. For the preceding two years, everything in my life had been moving at the speed of sound. Graduating from college in April 2013 and moving in with my girlfriend; trying and failing to find a full-time job; striking up a career in freelance writing; proposing to my girlfriend; planning a wedding and juggling all the festivities that come with it – from showers to bachelor/bachelorette parties; actually getting married.

I thought things might ease into a slower pace after the wedding and the honeymoon, but they didn’t. A month after that, my wife was interviewing for a new job, and we ended the summer of 2014 by turning in the keys of our Illinois apartment and moving to Grand Rapids, Michigan to start another new chapter. And shortly after that, my grandpa passed away, throwing my whole extended family into a tailspin that lasted through the holidays.

The whirlwind of changes kept going into the New Year. On the first day of 2015, my wife and I adopted a tiny kitten, the first pet we’d ever shared together. She was (and is) a beautiful little troublemaker and she stole my heart immediately. And then, that winter, we got so sick of living in a cramped apartment that we found a realtor and started shopping the housing market. We closed on our first house in March of that year, and moved in the next month, right as Michigan was bursting into springtime bloom.

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Review: The Starting Line – Eternal Youth

The Starting Line - Eternal Youth

18 years. There’s something a bit romantic about the amount of time that it took The Starting Line to follow up 2007’s brilliant LP of Direction. While turning 18 years old seems to signify our final path towards adulthood and leaving our youth behind, the reality behind this landmark age is that our lives are just beginning. Eternal Youth comes at just the right moment in time for our scene that is experiencing another surge and resurgence with bands like Motion City Soundtrack, Yellowcard, and now The Starting Line making new music again that is both worthy of their past legacy, while simultaneously moving the needle of creativity forward in their musical journey. The Starting Line first arrived in the pop-punk scene with Say It Like You Mean It, a widely adored scene staple via Drive-Thru Records, and yet it made sense for the band to outgrow that genre with stylistic choices made on Based on a True Story and eventually Direction. Eternal Youth signifies the band recognizing that the pop-punk genre is reminiscent of, as Kenny Vasoli put it in an interview I conducted with him in 2022: “I do know that we’re a pop punk band. And it’s a genre that sort of represents nostalgia and eternal youth, which I’m totally able to appreciate.” Wait, did Kenny drop the name of his returning LP for all the world to see and we all missed it until now? Eternal Youth to me represents the best version of The Starting Line, and I’m so happy that they’re back.

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Review: Abandcalledlove – Thriving Season

Abandcalledlove - Thriving Season

There’s something to be said when a young band fully realizes their vision for their music right off the bat. Abandcalledlove has released their debut EP, called Thriving Season, that tackles the themes of resilience, addiction and recovery, paired with ultra-relatable elements like the complexities of relationships. The band was formed in early 2020 by Ryan Chandler Love (vocals/guitar/keyboards) and Ian Joshua Riley (guitar/production), while later adding into the fold Blake Aldridge (guitar), Brooks Roberts (bass) and Austin Yagle (drums). “Thriving Season is exactly what its title suggests,” Love explains. “It represents growth, struggle, and finally learning how to embrace yourself and your surroundings. Every song carries a piece of that journey, and I think listeners will connect with the vulnerability as much as the energy.” By putting a strong first step forward, Abandcalledlove have delivered the music that is sure to win over plenty of new fans willing to take a chance on “love.”

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Review: The Paradox – NSFW

The Paradox - NSFW

Welcome to the pop-punk party, The Paradox! The band formed in June 2024, and is rounded out by vocalist/guitarist Eric Dangerfield, bassist Donald Bryant, lead guitarist/vocalist Xelan and drummer PC3. NSFW takes a blend of styles similar to Blink-182, Green Day, and Allister, all with a slick-sounding approach to their pop-punk attack. The Paradox are making an immediate impact on the scene with appearances at the latest iteration of the Vans Warped Tour and will be supporting All Time Low on their upcoming headlining tour of major venues across the U.S. While The Paradox lean heavily into the pop-punk bands they’re clearly influenced by here, NSFW is still a really fun debut from the Atlanta-based band.

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My Life In 35 Songs, Track 27: “Speed Trap Town” by Jason Isbell

My Life in 35 Songs

“Everybody knows you in a speed trap town.”

As far back as I can remember, I always wanted to be a songwriter.

I have this vivid memory of when I was 6 or 7 years old, getting ready for bedtime and humming melodies to myself, making up my own songs. A little later, it was me and my brother and sister in the basement, trying to be a “band,” even though all we had was an extremely loud drum set, a dinky 41-key keyboard with no amplification, and a homemade guitar built out of 2x4s and fishing line. And then, eventually, it was me in eighth grade, scrawling “lyrics” in my journal.

Despite many attempts, though, songwriting remained, for years, the most elusive skill I ever tried my hand at. It was harder than singing, harder than running, harder than what I was learning in my math or English classes at school. Maybe the problem was that I had nothing to say. Or maybe I was just so immersed in music that every attempt I made to write something of my own just came out sounding like a pale imitation of one of my influences. Whatever the reason, it wasn’t until the mid-2010s that I wrote a song I was legitimately proud of, and I don’t know if that ever would have happened had it not been for Jason Isbell.

Isbell had already had a whirlwind career by the time I caught up with him. He’d gotten his start in 2001, joining the southern rock band Drive-By Truckers for a tour in support of their appropriately titled LP Southern Rock Opera, and then sticking around as a guitar player and occasional songwriter and singer for the next three albums. But I’d never heard a Drive-By Truckers song before, so I had no reason to have heard of Isbell through that channel. He’d also flown under my radar for his first three solo LPs, recorded between 2007 and 2011, which I don’t recall ever hearing or reading a single word about when they were actually current concerns in the music world.

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Review: Your Smith – The Rub

Your Smith - The Rub

It’s a bit hard to believe that The Rub is the debut full-length record from Your Smith, since she’s been making music for several years. Alas, the long-awaited full artistic statement from the talented songwriter has arrived. After a series of events (the COVID-19 pandemic, starting a family) that led Caroline to step away from the music scene after her excellent last release, 2019’s Wild Wild Woman EP, The Rub finds Your Smith at her most focused, with a knack for crisp and picturesque songwriting. The Rub was recorded with a band at Pachyderm Studio in Cannon Falls, MN, and the record is largely centered around the theme of coming home and re-connecting with the people that make our lives the most worthwhile. The Rub tends to “rub” off on listeners in a great way, and it’s an album that deserves its moment in time.

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Review: Ray and Paul – Fading EP

Ray and Paul - Fading EP

An indie band, comprised of the San Francisco-area brothers of Ray and Paul, have released their latest taste of music called Fading. The EP is brimming with the stylistic choices of surfer rock, paired with garage rock, all shimmering under the careful eyes of producer John Goodmanson (Weezer, Pavement), with additional tracks produced by Jarvis Taveniere. “These six songs reflect the past five years of our lives—love, heartbreak, sadness, doubt, confusion, and pain,” the duo of Ray and Paul shared. “They’ve shaped who we are and changed how we see the world and our music. We’re so grateful to finally share this with you and excited for what’s ahead.” With a slick sound that fits well in the same realm as Phantom Planet, Ash and Rooney, Ray and Paul showcase why they’re turning so many heads in 2025 and beyond.

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Review: Motion City Soundtrack – The Same Old Wasted Wonderful World

It’s so great to have Motion City Soundtrack back and making music again. Panic Stations was their last taste of music that the band offered, back in 2015, and now after the long hiatus, MCS sounds as refreshed and re-energized than they arguably have ever been. The Same Old Wasted Wonderful World feels like the most logical jumping off point from Motion City Soundtrack’s adored 2010 LP of My Dinosaur Life, and front-man Justin Pierre still remains his quirky and captivating self on this 11-song set produced by Sean O’Keefe (Fall Out Boy, Punchline). “I think that if you look at a lot of our past records, it’s about ‘What’s wrong? What am I not getting right? Why do I feel fucking crazy? Why can’t I figure this out’…and I figured it out,” front-man Justin Pierre admits. “It’s almost like I felt I didn’t have an identity [in the past] and now by working through the hard stuff, I know who I am.” By finding comfort in the past noise and figuring out the person he wants to be moving forward, Justin Pierre and his other four bandmates have crated a record that not only lives up to the band’s legacy, but provides a reinvigorated look at Motion City Soundtrack as a whole.

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Review: Twenty One Pilots – Breach

It’s both hard and easy to believe that Twenty One Pilots are at the point in their career where they have now released eight studio albums. The band have been scene mainstays since being signed to Fueled By Ramen records in 2012, and yet many casual fans don’t realize that Twenty One Pilots also released two other LPs in advance of their major label signing. Breach comes storming onto the rock scene brimming with a similar sound to TOP’s arsenal, and the new record is catchy, familiar, and filled with several key thematic callbacks to keep fans engaged. It’s been just over a year since Twenty One Pilots released their seventh studio album, Clancy, and Breach feels more confident, urgent, and moves the needle even further in a positive direction in TOP’s creative approach to blending so many genres in their music. The set was produced by Paul Meany, Mike Elizondo, and the band’s vocalist Tyler Joseph. The set was preceded by three singles in “The Contract,” “Drum Show” and most recently, the sprawling, bass-heavy opener of “City Walls” that was accompanied by a long-form music video of the five minute-plus song. Breach ultimately ends up being one of the most thrilling records, if not the most important album, since Twenty One Pilots first formed in 2009.

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