Review: All Time Low – Future Hearts

The sixth studio album from pop-punk band All Time Low found them working with a ton of outside collaborators/writers and showcased a slick sound led by production from veteran producer John Feldmann. Future Hearts is now celebrating its tenth birthday today, and each of the 13 songs found on the record featured an outside writer on it. This type of collaboration was new to the band, as they had typically composed the majority of their material in-house. Future Hearts was one of All Time Low’s most successful LPs at launch date, debuting at #2 on the Billboard 200 upon its release and selling over 80,000 copies in its first week. The band took their major label misfire (2011’s Dirty Work) in stride and would quickly follow this up with Don’t Panic and their final Hopeless Records record in Future Hearts. While the band would reach their creative peak on 2020’s Wake Up Sunshine, Future Hearts is filled with a ton of great pop-punk tunes that deserve another look.

Adam Grundy 2 weeks ago 1 comment

After the breakthrough success of Household Name, indie rock band Momma have returned with their highly anticipated fourth record called Welcome To My Blue Sky. The new album was produced by Aron Kobayashi Ritch, who also contributed on bass, and showcases the rapid improvements in Momma’s already-dynamic sound. The vibrant feelings come oozing through the speakers early on in vulnerable songs like the opening track of “Sincerely” that helps set the tone for the rest of the album. Led by the two primary songwriters/vocalists/guitarists in Etta Friedman and Allegra Weingarten, Momma tighten up their songwriting while still presenting songs that are both catchy and relevant. Momma shared in a recent interview that Welcome to My Blue Sky is “an open letter to those who have come in and out of our lives,” and this particular letter is well-received and invites wider audiences to sing along to every lyric and connect with this band on a deeper level.

Adam Grundy 2 weeks ago 4 comments

The fifth studio album from Mumford & Sons, and the band’s first new album in nearly seven years, called Rushmere, gets its name from the pond located at Wimbledon Common in London, where the band first met and began the process of wanting to make music together. The band looked towards their beginnings to find a spark in their music, and create their first new taste of music since Delta. The overall sound of Rushmere recounts the humble beginnings of Mumford & Sons on 2009’s Sigh No More, with more experience under the band’s belt in crafting their desired artistic direction. The set was produced by veteran hit-maker Dave Cobb (Sturgill Simpson, Jason Isbell) and was recorded partly in Nashville, and also in the band’s home studio in Devon, England. Rushmere takes all of the stage and life experiences that the band members have had, and gets the ship pointed in the right direction. The next phase of Mumford & Sons career looks bright.

Adam Grundy 2 weeks ago 16 comments

There’s something to be said for when a band knocks all expectations out of the park on a late-career masterpiece. Underoath have proven the naysayers wrong once again with the ultra-creative, career-spanning tenth LP called The Place After This One. The record was produced by Danen Reed Rector (Charlotte Sands) and mixed by Matt Huber (Boys Like Girls), and they both do their best in accentuating the key parts of what makes Underoath such an interesting band in the first place. After some lukewarm fan reactions to the direction the band was taking based on the singles they released from this set, this album shows the importance of context. While even I was admittedly a little worried about the direction found on singles like “Teeth,” seeing how the song plays out in the full set on The Place After This One makes a lot more sense and shows that Underoath has plenty of reserves in their creative tank. The album ends up being the band’s best work since Define The Great Line, and another defining moment in Underoath’s discography.

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Review: New Found Glory – From The Screen To Your Stereo

Adam Grundy 3 weeks ago 1 comment

The breakthrough cover series by New Found Glory kicked off 25 years ago with From The Screen To Your Stereo. This compilation of pop-punk covers of famous songs from movies has been long-adored by fans of the band, and NFG has since put out two additional versions of the series as well. Part I is a fun listening experience that preceded New Found Glory’s self-titled record that would make the band a household name on MTV and radio stations alike. This cover album included seven tracks that clocked in at just under the 20-minute mark, and showcased a band figuring out their sound and Jordan Pundik’s evolving vocal range from Nothing Gold Can Stay. The reception to the movie covers EP was more appreciated over time as the band would occasionally add these covers (and others) to their live sets. From The Screen To Your Stereo was produced by New Found Glory and Jeremy Staska, and marks a memorable time in the ascent of one of this scene’s favorite pop-punk bands.

Adam Grundy 3 weeks ago 24 comments

The fourth studio album from pop-punk band, Hit The Lights, called Summer Bones is a solid collection of songs that bookmarked where the band felt most comfortable in. The record has since turned ten years old today, and Hit The Lights have not released a full-length record since then. The closest we got to new music was the 2016 EP, Just To Get Through To You, that also featured acoustic versions of several tracks from Summer Bones. Summer Bones was produced by Kyle Black (New Found Glory/All Time Low/State Champs) and highlights a familiar sound from the band’s most successful record, 2008’s Skip School, Start Fights. After the experimental Invicta, Summer Bones has the vibe of a more matured version of the band, and still plays out well to this day. The set would spawn three singles in “Fucked Up Kids,” “Life on the Bottom” and “No Filter.”

Adam Grundy 3 weeks ago 8 comments

The eighth studio album from A Day To Remember, called Big Ole Album Vol. 1, finds the band at a bit of a crossroads. This is the first record without founding bassist Josh Woodard, who departed the band in October 2021 due to allegations of misconduct, and A Day To Remember try to regain their footing after the lukewarm reception of their last record, You’re Welcome. Big Ole Album Vol. 1 features a litany of producers, six in total, including lead vocalist Jeremy McKinnon and the album has a bit of a tough time finding its direction. The album feels like an A Day To Remember record, but with so many artistic directions taken here, it’s a bit of a jarring listening experience. Instead, the album plays out almost like a “Greatest Hits” set that goes through the ground the band covered since their early days to now. Preceded by a physical only release on February 21st of this year, the streaming date has arrived for an album that has already achieved a Top Five Billboard 200 debut.

Adam Grundy 4 weeks ago 0 comments

Losing a loved one can bring out so many emotions that we didn’t know that we even had inside of us. On her heartfelt tribute to her mother who passed away from cancer, Lily Meola has returned with a new EP, affectionately labeled as Postcards To Heaven. Meola shared, “Since losing my mom, writing music has been a form of therapy for me. These songs stem from my grief and the everlasting longing I have to communicate with her. I decided to put these out on her birthday as a way to dampen the heartache that this day brings and to honor her. I hope that sharing these songs will help others who are facing grief.” By creating a touching EP that tugs on all of the right heartstrings, Meola quickly showcases the healing power of music.

Adam Grundy 1 month ago 11 comments

It sure feels like Coheed and Cambria have been around much longer than 23-plus years since their debut album was released. Is it the mix of classic rock and prog rock elements that give them that nostalgic feel? Possibly. Is it the rich concepts of traveling through epic space storylines? Could be that as well. All things considered, Coheed and Cambria feel right at home with their tenth studio album, The Father of Make Believe. The record blends a lot of what Coheed have been best at over their storied career thus far, and adds in some new creative elements to their sound to prevent the album from feeling like a retread of already covered ground. Instead, The Father of Make Believe is a gripping exploration of mortality, legacy, and human connections that make us want to keep navigating through this crazy life. Look no further than the opening track of “Yesterday’s Lost” where vocalist/guitarist Claudio Sanchez ponders, “If this life ends early / Would I have spent our time right?” before later confessing, “It won’t get any easier / As I start to get old / Please share with me something / Before I lose control,” and you start to get the feeling like this band is in a reflective state of where they have been so far, and yet they embrace whatever comes next. And yes, while these lyrics are wrapped up in the space rock narrative of The Armory Wars/Vaxis storyline, there is still a beating heart behind each of these words that can be applied to the realities we all experience today. That’s the magic of Coheed and Cambria. They have been able to relate to not only their fellow “comic book nerds” but also those who appreciate great rock music that leaves us feeling fulfilled.

Review: Radiohead – The Bends

Adam Grundy 1 month ago 0 comments

The pressure that bands must feel after delivering a successful debut album must be enormous. Add the backing of a major label to the mix, and the expectations that come with all of that, and it can be enough to make even the most confident songwriters take pause. Radiohead stormed onto the Alt Rock scene with 1993’s Pablo Honey, that spawned a now-legendary lead single in “Creep.” The debut set has gone on to sell over 1.5 million copies in the U.S. alone. The expectation from Radiohead’s label (Capitol Records) was that they could easily replicate this success on their sophomore effort, The Bends. But true art can’t be forced or so easily matched at the click of a button. The reality that began to sink in for this ultra-talented band during the songwriting sessions for this record led to the realization that they would have to go even bigger than anyone could’ve ever dreamt of. Through these sessions, The Bends has gone on to receive numerous critical accolades, including Rolling Stone’s “500 Best Albums of All Time” list and several platinum certifications worldwide.

Adam Grundy 1 month ago

There’s a lot to love about the band Fountains of Wayne. From their humble beginnings that grew out of admiration for solidified rock bands like R.E.M. and The Cars, the band’s primary songwriters, Adam Schlesinger and Chris Collingwood, met at Williams College in Northern Massachusetts and would begin to craft not only the early stages of Fountains of Wayne, but a lifetime friendship. Fountains of Wayne is loving tribute to the beloved band that while only having one true “hit” in “Stacy’s Mom,” there was so much more to them and their music. Author Fiona McQuarrie cuts right to the core of what this band so special, talented, and does a fantastic job of researching all that went into the band’s early days, all the way to their eventual breakup. McQuarrie’s writing style is warm, and you can easily tell she is a fan of the band’s work through her endearing biography of Fountains of Wayne.

Adam Grundy 1 month ago

The sophomore album from Spiritbox, Tsunami Sea, is an absolute monster. The new record comes hot off the heels of 2023’s EP The Fear of Fear, and the much-buzzed about debut LP Eternal Blue, and two consecutive Grammy nominations for Best Metal Performance. The new album was co-produced by Spiritbox’s Mike Stringer and Dan Braunstein, and early on you get the vibe that the band is out for world domination, and they just may achieve their goal. From the opening visceral one-two punch of “Fata Morgana” and “Black Rainbow”, Spiritbox reinvent what it means to make a metal album today, and have filled the void with a record that demands to wash over anyone who takes the time to listen to it. Lead vocalist Courtney LaPlante can confidently go from the most punishing of screams to a softer croon with ease as she showcases why she is one of the most talented front women in today’s music scene. Spiritbox have improved vastly upon their sound that combines melodic metal, metalcore, electronica, and EDM into a massive package that will do nothing to dissuade others from joining the bandwagon.

Adam Grundy 1 month ago

If you’ve ever wanted to explore the vastness of space through a great-sounding ambient track that fits somewhere in the realm of Thrice’s Vheissu, paired with the sprawling rock of band’s like Caspian, IOTA CENTAURI is your next obsession. With the release of the project’s new single called “Lullaby For A Dying Sun,” IOTA CENTAURI have also announced their debut LP called Supermassive. IOTA CENTAURI is the solo moniker of TJ Fulfer, and the new album explores themes of love, loss, tragedy, and the growing distance between two people, expressed through the vastness of space, the mysteries of the universe, and the weight of darkness—all woven into sweeping soundscapes and deeply evocative melodies.

The latest single features some guest vocal spots from Ken Pendola and Meg Zahora to help round out this band’s approach to songwriting. The epic final chorus of, “And when it vanishes / Nothing is remembered / Only an emptiness / Where light once lived,” takes the concept of traveling alone through the depths of space and still hones in on the human element of what makes us all want those key connections to others.

Review: STMNTS – “Sinking In”

Adam Grundy 1 month ago 0 comments

The latest single from Baltimore pop-punk band, STMNTS, called “Sinking In” is a passionate blend of styles similar to The Wonder Years, Bayside and the guitar-crunch of Four Year Strong. Formed in 2022, STMNTS consists of vocalist Liam King, rhythm guitarist Jamie Black, lead guitarist Drew Chiodo, bassist Josh Pelc, and drummer Shawn Smyth. The single was produced, mixed and mastered by Jeff McKinnon, with some additional production contributed by Evan Seeberger. STMNTS are coming off of the success of their well-received 2023 EP called Tendencies, and have released their second single since that last record came out with today’s “Sinking In.”

Review: Nona Invie – Self-Soothing

Adam Grundy 1 month ago

There are certain records that can pull you in closer to the studio and writing rooms that an artist used to create the musical landscape around them. Self-Soothing is one of those albums. Nona Invie, the ultra-talented songwriter from Minneapolis, crafts arguably her most personal LP to date. “This is a very personal record. I felt very selfish making it. Self-indulgent,” Nona says. “I am an introvert, but I need to share. This record touches on feelings of guilt and shame after a long-term relationship ended, on remembering friends who died too young, on toxic love in friendship and romance, on hopeful feelings of creating and living in a fantasy.” Over the course of eight heartfelt songs, Invie bares her full beautiful soul for all the world to see, and features some of her strongest songs to date.

Review: All Time Low – Future Hearts

Review: Momma – Welcome To My Blue Sky

Review: Mumford and Sons – Rushmere

Review: Underoath – The Place After This One

Review: New Found Glory – From The Screen To Your Stereo

Review: Hit The Lights – Summer Bones

Review: A Day To Remember – Big Ole Album Vol. 1

Review: Lily Meola – Postcards To Heaven

Review: Coheed and Cambria – The Father of Make Believe

Review: Radiohead – The Bends

Review: Fiona McQuarrie – Fountains Of Wayne

Review: Spiritbox – Tsunami Sea

Review: IOTA CENTAURI – “Lullaby For A Dying Sun”

Review: STMNTS – “Sinking In”

Review: Nona Invie – Self-Soothing