This past month, I was able to schedule a Zoom call with DC-based punk rock band, American Television, to discuss their upcoming EP, You Are Not Alone. In this interview, I asked the band members about their writing process, what to make of DC’s current political situation, their past touring experience, and much more. The band is playing a record release show at Jammin Java in Vienna, Virginia next month, and tickets are on sale here. Also, pre-orders are on-going for You Are Not Alone over at Smartpunk Records.
Read More “American Television”Interview: Raine Maida of Our Lady Peace
Recently I was able to schedule a Zoom call with the lead vocalist of Canadian rock band Our Lady Peace, Raine Maida, for an in-depth discussion largely around the topic of mental health awareness. Our Lady Peace recently reissued and re-recorded a version of their fan-favorite song, “Whatever,” that was originally used as a theme song for a former WWE wrestler. In this interview, Raine and I chatted about how Our Lady Peace “reclaimed” this key song in their discography, and what’s coming down the road next for this legendary rock band. If you’re looking to stay connected with Our Lady Peace, please consider joining their Discord here.
Read More “Raine Maida of Our Lady Peace”My Life In 35 Songs, Track 24: “The House That Heaven Built” by Japandroids
It’s a lifeless life, with no fixed address to give/But you’re not mine to die for anymore, so I must live.
“Last Call at 301.” That’s what my college roommates and I called the final party we threw at our apartment, one week before we graduated.
Over the course of our junior and senior years, the place my roommates and I shared had become something of a de-facto hangout spot among our friend group. That was partially because of our habit for hosting Super Smash Bros battles on weeknights, but mostly because my roommate Danny would just invite people over for impromptu dinner parties all the time, or study sessions, or movie nights, or cocktail hours. On any night of the week, there was a good chance of finding 2-6 guests in our living room. And so, while we had college bars that we loved – special shoutout to the Kalamazoo Beer Exchange, the coolest beer bar I ever frequented – it ultimately made the most sense for us to have our last big college hurrah at our place: Apartment 301.
My big responsibility for that party, other than chipping in for booze, was putting together the perfect party playlist for our big sendoff. I was absolutely up to the task. In a lot of ways, I’d been training for this moment my whole life. As this series attests, I have a habit for very carefully and deliberately soundtracking the big, climactic moments of my life, and this party was surely going to be one such moment. And while I knew most of the songs on the playlist had to be shared touchstones – tracks that would get a group full of college kids laughing, vibing, dancing, reminiscing, and singing along – I made sure to save one slot on the playlist just for me, so that I could play the Japandroids song “The House That Heaven Built” as loud as fucking possible in a room full of elated drunk people.
Read More “My Life In 35 Songs, Track 24: “The House That Heaven Built” by Japandroids”Review: Dijon – Baby
The sophomore album from Baltimore, Maryland-based R&B artist, Dijon, Baby feels like a force of nature. The record is equal parts a concept record, since it largely reflects on him becoming a first-time father, as much as it is an exploration of the power of soul/gospel, all put on blend in a stunning concoction. The LP was largely self-produced by Dijon, with a few collaborations from Andrew Sarlo, BJ Burton, and a frequent Dijon collaborator in Mk.gee. Dijon intricately weaves in old school hip-hop samples, stellar production, and a soulful, almost-gospel esque approach to his vocal performance that transcends genre lines along the way. Baby was released with no preceding singles, and is meant to be listened to from front to back to fully absorb what Dijon created here. Sophomore albums typically don’t blow away the competition as much as what Dijon has accomplished here, and the widespread critical acclaim of Baby is 100% justified. Dijon offers a mesmerizing combination of experimental hip-hop, rap, soul and R&B, in one of this year’s best albums to date.
Read More “Dijon – Baby”Review: Have Mercy – The Loneliest Place I’ve Ever Been
There’s something to be said when you can feel a beating heart behind a band’s music. That raw, emotional connection to the material is hard to come by these days, especially in the AI-era of music. Maryland’s own Have Mercy have returned with their most immediate material to date with The Loneliest Place I’ve Ever Been, that is packed with ultra-personal lyrics. “We’ve been waiting so long to show our fans what we’ve been working on. This feels like a new journey has started for our band. There’s no better way to kick start this album than releasing a song like ‘august 17’. It is an incredibly personal song that carries a lot of weight. It’s about loss and the continuing pain felt after someone is gone. It may hurt less over time, but it never stops hurting,” shared Brian Swindle, lead singer/guitarist of Have Mercy. By delving even deeper into stories of loss and trauma, Have Mercy simultaneously crafted their most personal, urgent, and best work to date on The Loneliest Place I’ve Ever Been.
Read More “Have Mercy – The Loneliest Place I’ve Ever Been”Review: Pinkshift – Earthkeeper
It’s easy to see why Pinkshift were so happy for their sophomore LP, Earthkeeper, to see the light of day. This record is brimming with hopeful messages, and is paired with an ambitious and dynamic take on what punk music is and can sound like today. An “Earthkeeper” is “a reflection of universal consciousness and a protector of existence,” and the spacey artwork showcases the band’s lofty ambitions on taking their music to the next level. While their Hopeless Records’ debut, that was called Love Me Forever, was a raucous punk rock romp of a good time, Earthkeeper is a direct reaction to the world around this young three-piece band that has a lot on their minds. Singles like the abrasive “Anita Ride” and the punk rock energy found on “Evil Eye” are wisely stacked back to back in the early-going of the album sequencing, while vocalist Ashrita Kumar finds lightning in a bottle in a dynamic vocal performance. Earthkeeper is absolutely packed with heavy political themes, while still remaining true and authentic the band’s core values and spiritual beliefs that there is a bigger power at play.
Read More “Pinkshift – Earthkeeper”Review: Wolf Alice – The Clearing
There’s a comforting feeling behind Ellie Rowsell’s vocals. The front-woman of British rock band, Wolf Alice, captivates and charms all over the band’s fourth studio album, called The Clearing. The album itself was produced by veteran hit-maker Greg Kurstin (Foo Fighters, Jonas Brothers), and The Clearing has a bit of that classic rock feeling to it as you play it from front to back. From the upbeat piano found on the lead single of “Bloom Baby Bloom” that gave Wolf Alice fans a sense of the direction found on the band’s latest effort, to the stylistic choices made by the three other band members to connect things together, The Clearing wasn’t exactly the album I thought would follow after 2021’s Blue Weekend. Instead, the album plays out like a 70’s rock n’ roll romp, much like what Fleetwood Mac cut their teeth to during that decade, with mostly positive results. The LP’s strengths are found in the shimmering sheen and musical polish of “Just Two Girls” and the album closing single of “The Sofa,” while I initially had trouble connecting with the style of “Bloom Baby Bloom” when it released in mid-May. Wolf Alice are trying to develop their sound by looking towards the past for tried and true influences, and they can only hope that their fans are still with them on the latest detour in their trajectory.
Read More “Wolf Alice – The Clearing”Interview: Jason Vena and Garrett Lunceford of Acceptance
Recently I was able to schedule a Zoom call with Jason Vena (vocals) and Garrett Lunceford (drums) of Acceptance to discuss the importance of their debut LP, Phantoms, turning 20 years old this year. The band is currently supporting the anniversary of their landmark record with a fall tour and a great re-record of the album that features several incredible guest artists on it. Pre-orders for the Phantoms 20 vinyl are on-going here via Equal Vision Records.
Read More “Jason Vena and Garrett Lunceford of Acceptance”Review: X Ambassadors – VHS (X)
In all of (the recently-engaged) Taylor Swift’s wisdom and cultural impact, arguably the biggest shake-up in the music industry was the idea of re-recording music to take back ownership of the songs that an artist has written. Never being strangers to hopping onto a great idea, X Ambassadors are gearing up for the release of VHS (X) this Friday, a faithful re-record of their debut LP that features a plethora of re-imagined versions of their biggest hits. VHS, I thought, was a bit bogged down/packed with too many interludes and voice memos that broke up the overall flow of their debut, but VHS (X) trims the fat, and focuses on what X Ambassadors are capable of creating today. Given the band’s 10+ years experience that have come from touring the world since their original version of VHS graced the world in the summer of 2015, this re-record does much more than just claiming back ownership of the songs that Sam Harris, Casey Harris, and Adam Levin created on their debut, it accentuates X Ambassadors core strengths as a unit moving forward.
Read More “X Ambassadors – VHS (X)”My Life In 35 Songs, Track 23: “Can’t Smile Without You” by Barry Manilow
I’m finding it hard leaving your love behind me
It was the one time in my life where I could reasonably describe myself as a “working professional musician.”
I’ve made passing mention of it a few times in this series, but during my college years, for three consecutive summers, my primary job was working at the local dinner theater in my hometown. The space was an old movie theater that had been converted into a wedding and event center. A catering company operated out of a building on the same property, and they’d struck up a deal with a local entertainer to put on three shows per week at the venue to help bring in customers and sell a shit ton of food and alcohol. Most of our customers were in or nearing the retirement age bracket, and most of the songs we performed were hits from yesteryear, to make sure we were appealing to that demographic. We switched up the show theme and the setlist frequently across those three years, and songs fell in and out of rotation. But the one song I sang at almost every show we ever did was “Can’t Smile without You,” a ‘70s pop hit made famous by Barry Manilow.
Read More “My Life In 35 Songs, Track 23: “Can’t Smile Without You” by Barry Manilow”Review: Foreign Air – Such That I May Glow
Foreign Air are onto something truly great and moving on Such That I May Glow, their third full-length album to date, and ultimately their most complete artistic statement to date. The band first gained viral success from their debut single that was featured in several prominent ads, called “Free Animal,” that brilliantly showcased what Foreign Air were capable of creating when the duo of Jesse Clasen (lead vocals/guitar) and Jacob Michael (guitar/bass/synths/programming/backing vocals) came together. The band seemed to have gained a certain confidence and swagger that comes through well on this album that is brimming with unlimited potential for where Foreign Air can go from here. The band is somewhere in the same artistic realm as Sir Sly, JR JR, and The Naked And Famous, with a slick self-produced sound on Such That I May Glow, that is quickly becoming one of my favorite releases of not only the synth-wave genre, but also for this entire year.
Read More “Foreign Air – Such That I May Glow”Interview: Huddy
Recently I was able to schedule a Zoom call with musician and actor, Huddy, to discuss his new single and video treatment for a key song called “Fragile.” In this interview, I asked Huddy about the difference in preparing for an acting role versus performing for a live concert, where he finds most of his inspiration for his art, and the plans for the future. If you’re enjoying the interview, please consider streaming Huddy’s music here.
Read More “Huddy”Review: Hayley Williams – Ego Death at a Bachelorette Party
After the surprise drop of 17 new singles that mysteriously appeared in late-July on the official website of Hayley Williams, the singles got an official streaming release on August 1st. Williams’ move set the record industry a bit aghast, as these songs live without a true “home” (as of this writing) of a standard album, no official tracklisting, and a litany of interpretations from longtime fans of the Paramore front-woman. Simply dubbed as Ego, these new songs are brimming with unlimited potential and purpose. 2020’s Petals for Armor highlighted what Williams could do on her own with her vibrant and infectious personality, and paired it with the long-documented trauma of her past divorce, while the 2021 sophomore follow-up of Flowers for Vases / Descansos backed up my feelings that Hayley Williams was more than capable of letting her star shine brightest without the umbrella of Paramore. Ego, while not officially dubbed as the third album from Williams, still plays out with a clear vision and bating heart behind these 17 tracks that accentuate her ability to convey a wide range of emotions in her vibrant music. Not one for conforming to the norms of the music industry, Ego re-imagines the possibilities of what music is and can be about as Hayley Williams re-cements herself in the singer-songwriter genre with a brilliant artistic statement.
Read More “Hayley Williams – Ego Death at a Bachelorette Party”Review: Filter – Short Bus
The story of Filter began when lead singer/band founder, Richard Patrick, mentioned in past interviews that when he was chatting with his touring bandmate of NIN singer (Trent Reznor), he suggested that Patrick make his own record while Nine Inch Nails went off to record their now-classic of The Downward Spiral. The tunes that Richard Patrick crafted on Short Bus were heavily influenced by his time in touring with NIN, yet they feature a lot more guitar parts in them to set Filter on a different artistic course than the aforementioned other touring project. Short Bus was released on April 25th, 1995, and has sold over a million copies in the U.S., spearheaded by the breakthrough success of Filter’s debut single of “Hey Man Nice Shot.” The set was co-produced by Richard Patrick and his musician friend, Brian Liesegang, who conceived the idea of Filter in the early 90’s. During the recording sessions, Patrick acted as the primary songwriter/bassist/vocalist, while Liesegang primarily handled production duties and programming the drum machine they used on Short Bus, and the duo split the guitar duties. While the band’s sophomore record, Title of Record, would blast Filter into the Alt Rock mainstream with the soft rock hit of “Take A Picture,” Short Bus is ultimately the album that longtime Filter fans point to as the key moment in time when Richard Patrick and Brian Liesegang were at their creative peak.
Read More “Filter – Short Bus”My Life In 35 Songs, Track 22: “Handwritten” by The Gaslight Anthem
Here in the dark, I cherish the moonlight/I’m in love with the way you’re in love with the night.
It got warm early that spring. I remember that much vividly.
There’s a night from April 2012 that sticks in my head, where my college roommates and I got drunk off beer and long island iced teas and sat out on the deck of our apartment until the wee hours of the morning, so amped up by the alcohol and the unseasonable warmth of the night that we were almost howling at the moon. It felt like summer, and we were absolutely acting like it was, even though it was a Wednesday night and we all had early classes the next morning.
I hadn’t heard a note of The Gaslight Anthem’s Handwritten when that night happened, but for whatever reason, when I think of this album, that’s the night I remember. Maybe it’s because I was already anticipating Handwritten with as much fervor as I’d ever anticipated any album before. Or maybe it was just because that night felt like a Gaslight Anthem song: the friends, the instant nostalgia, the magic in the night. Whatever the reason, I’ve always thought it was funny that my most vivid memory of one of my favorite albums is from a night before that album even existed out in the world.
Read More “My Life In 35 Songs, Track 22: “Handwritten” by The Gaslight Anthem”