Sparrow Sleeps has released a new lullaby album today of Dashboard Confessional covers. The album is called The Places You Have Fallen Asleep The Most and is now up for order.
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The Taste of Chaos tour may be all wrapped up, but I was fortunate to be able to capture some images from their stop at the famous Red Rocks in Morrison, CO. I have been to quite a few shows here, but this one is at the top of my favorites, based on nostalgia alone.
Seeing the lineup of Dashboard Confessional, Taking Back Sunday, Saosin, and The Early November was surreal to say the least. Some of the first times I photographed many of these bands was in the early 2000’s, before radio or television had taken their careers to new levels. After seeing these bands in venues with only other bands, and maybe a few fans watching, it was amazing to see them on stage in one of most iconic venues in the world. I’m going to split these galleries up by the different bands, and today’s gallery is for Dashboard Confessional. You’ll find the photos below.
Dusk and Summer is my favorite Dashboard Confessional album. How’s that for a contrarian statement? For most fans of Dashboard, Dusk tends to occupy the lower rungs of discography rankings—if not the very bottom slot. There are obvious reasons for this lowly reputation, and they happen to correspond with the various groups of Chris Carrabba fans that exist out in the wild. The first group of fans is the “there from the beginning” group. These people were listening when Carrabba first arrived on the scene and released The Swiss Army Romance (2000) and The Places You Have Come to Fear the Most (2001). Fans in this group are incredibly attached to the stripped-down acoustic arrangements and heart-on-the-sleeve angst of those first two records. They cite Swiss Army and Places as foundational albums in the emo and pop-punk movements, label them as classics, and point to Carrabba going full-band (on 2003’s A Mark, A Mission, a Brand, a Scar) as the moment where everything went to hell.
Chris Carrabba confirms with Miami New Times that Dashboard Confessional are deep into recording their new album.
“Our set list will run the gamut,” Carrabba says. “We’re going to play songs from all the albums.” He promises fans will hear a new track too, a hint of what’s to come as Dashboard Confessional works on its first new batch of songs since 2009’s Alter the Ending. “We’re deep in the recording now, but I want to get a little deeper before we announce when and how we release it.”
Dashboard Confessional have released their new song “May.”
Chris Carrabba has confirmed that he’s currently writing new songs for Dashboard Confessional.
But beyond that, the details are vague. “I don’t have any idea of a release date or a worry about one for that matter,” he says. “But I’m really excited to be doing it because I don’t think it’s ever felt this much like the beginning again.”
Dashboard Confessional played a new song, tentatively given the name “Kinda Yeah Sorta,” at the Atlantic City Beer and Music Festival over the weekend. The only other clip of the song I could find was from two weeks ago in Rio de Janeiro.
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Chris Carrabba takes a look back at his first album for the 10th anniversary of The Swiss Army Romance, remembers his time in Further Seems Forever, explains why he’s never set out to write a hit, and updates what’s next for Dashboard Confessional.
It’s no secret Chris Carrabba is a deeply emotional guy. Ever since he began releasing albums under the pseudonym Dashboard Confessional in 2000, his breathy-vocal ballads with plenty of heartache to spare have won over several crowds (check out his MTV Unplugged special if you don’t believe me). After releasing two big-budget, full-band records, Carrabba turned to his old faithful acoustic six-string once more to release the more-refined Shade of Poison Trees, which was not only a return-to-form, but a reminder that when given the ability to showcase his more nuanced side, Carrabba is one talented individual. The man must be a hit at campouts.
With Alter the Ending, Carrabba decided to go back into full-fledged rock band mode, acquiring two pop-rock connoisseurs in producers Butch Walker & Adam Schlesinger (Fountains of Wayne’s main songwriter/guitarist) to assist them in creating an eclectic blend of harrowing emotional pop with arena-sized hooks. Whether or not Carrabba wants to be Bono or a coffeehouse Casanova has yet to be determined, because Alter the Ending’s biggest drawback is the big production value over pre-determined substance, which hinders the potential of the weight these songs carry. The thematic material at hand is far more mature and gives Carrabba the opportunity to use this canvas as a means to explore a new side to his songwriting tasks. Less romanticized emotional outbursts and more perspective on touchier subjects makes this record blossom — but everything else it is comprised of tends to clutter its internal message and, above all, the integrity of these tracks.
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Calling all Dashboard diehards – we know who we are. Together we throw our voices to the sweaty mist that rises above our mass of bodies. Like one huge open wound orgy, this Dashboard lovefest knows every lyric down to the last syllable. There is a short and tattooed man on stage with an acoustic guitar, and he stands a smidgen past five foot. His holy choir feeds off the heart he wears on his sleeve. The room sings as one, and our chords are hoarse by the third song.
Read More “Dashboard Confessional – The Shade of Poison Trees” Ever since the demise of first-generation Further Seems Forever and the beginning of what could be called a legendary project, Chris Carrabba has established himself as the giant teardrop with a guitar and fans have either loved him or hated him for his heart-on-sleeve approach. But as the evolution of most musicians, Chris took his solo endeavor further, adding a full band to his last release, A Mark, A Mission, A Brand, A Scar. While the success of that release was wavering and short-lasting, his first full-band studio record Dusk And Summer requires the same close watch.
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