The first new music from Hit The Lights in nearly a decade, called Tomorrow’s Gonna Hurt, is a solid collection of four songs that highlight the band’s slick approach to pop-punk. Released in part as a tribute to their bandmate Kyle Maite, who tragically died in September 2022, Hit The Lights do their best to honor their past legacy while leaving the door open for where they could go next if they continue to march on. The set features two guest spots, the opener has guest vocals from Jay Pepito and the third track features Hit The Lights’ original vocalist Colin Ross. While the band doesn’t cover too much new ground on this EP, there’s still plenty to enjoy in these songs that will hopefully rejuvenate Hit The Lights in making even more new music soon.
Read More “Hit The Lights – Tomorrow’s Gonna Hurt”Review: Spanish Love Songs – A Brief Intermission In The Flattening Of Time
The latest taste of music from Spanish Love Songs, called A Brief Intermission in the Flattening of Time, is a guest-heavy, moody and reflective romp of well-written songs. The set was collaborated with producer Arun Bali, and each of these vibrant tracks feature a guest artist/friend of the band. On the key song of “Cocaine & Lexapro” that features Kevin Devine, frontman and guitarist Dylan Slocum shared, “I’ve been trying to work with Kevin for a while now. We have a good number of mutual friends but had never met up until this. The reasoning was simple — our band doesn’t exist without Kevin Devine, so when he agreed to sing on a song, he got to sing on a song. He took what I had demoed as an angry, contrarian second verse and turned it into something delicate and full of pathos. It absolutely floored me the first time I heard his vocal tracks dropped in.” By working with four great artists on this EP, Spanish Love Songs reinvigorate their passion for writing songs filled with uncertainty in the days that lie ahead of us, but with a beating heart of hope that things can and will get better.
Read More “Spanish Love Songs – A Brief Intermission In The Flattening Of Time”Review: The EXOHs – Light Of The Moon
Sometimes you discover a band that makes everything else you’ve been listening to seem almost obsolete. I got that exact feeling the first time I heard The EXOHs vibrant single called “Soarin'”, that ended up being my favorite song released all of this year. The band, which is comprised of Chris Canberg & Michael Perdichizzi, is well on their way towards making a name for themselves on this shimmering collection of four songs known as Light of the Moon. Music is intended to make us feel one thing or another, and The EXOHs latest music makes me feel like anything is possible. With a sound that fits somewhere in the same realm as The Fray, Goo Goo Dolls, and Andrew McMahon in the Wilderness, The EXOHs have taken the next dramatic leap in their artistic development on Light of the Moon.
Read More “The EXOHs – Light Of The Moon”Review: The Cranberries – MTV Unplugged
The MTV Unplugged series is pretty legendary in its own right, with memorable and iconic performances from bands like Nirvana and Alice In Chains setting a high bar for others to try and reach for. Originally recorded at Brooklyn’s Howard Gilman Opera House on Valentine’s Day in 1995, The Cranberries’ MTV Unplugged session is finally getting a widespread and official release. The magic of the late-vocalist Dolores O’ Riordan, and her band’s performance in The Cranberries, is finally getting its proper day in the limelight with this stunning 9-track collection released today. You probably know all the songs by heart; from the vulnerable “Linger”, to the visceral delivery of “Zombie”, The Cranberries had a knack for writing legendary songs during the mid to late 90’s. The MTV Unplugged series continues to live on with grace on this ultra-memorable performance from The Cranberries.
Read More “The Cranberries – MTV Unplugged”Review: Susong – matae
Coming off of their critically acclaimed last record of We Are In This Together, Susong have returned with a vibrant new EP, called matae, which means “to give up”. In contrast to their opening statement of coming together, Michael and Matt Susong explore the depths of the concept of surrendering, while still building a community of getting artists to collaborate together. Pablo Vega (The Workshop) engineered and mixed the new EP, while Thomas Gleaner designed the artwork. On this 4-song EP, Susong not only expanded upon the feelings of letting go but they also created a world filled with hope and wonder.
Read More “Susong – matae”Review: Tired Radio – Hope In The Haze
Originally started as a solo project by guitarist/vocalist Anthony Truzzolino, Tired Radio has returned with Hope in the Haze, an album that finds Truzzolino navigating through the darkness to find a way out. He shared, “We’re about to release this new record that was written at the darkest point of my existence, and I’m nervous for people to hear because it’s all the dark parts of Tired Radio and none of the levity. Very heavy musically and lyrically.” The raspy voice of Truzzolino works well to match the pain that he feels on key songs like “D.R.E.A.M. (Depression Ruins Everything Around Me)”, as Tired Radio finds ways to accelerate their development as a full-fledged band. Produced and engineered by Gary Cioni (Hot Mulligan) with some additional production contributed by Matt Weber (Sweet Pill), Hope in the Haze paints a picture of a person at rock bottom, yet willing to claw their way back to the top. I promise it’s worth the journey, and it’s easy to root for Tired Radio’s breakthrough.
Read More “Tired Radio – Hope In The Haze”Review: Taylor Acorn – Poster Child
There’s something pretty magical about Taylor Acorn. Could it be her knack for writing big pop-punk hooks that drew me into her music in the first place? Perhaps. Maybe it’s her ability to connect with relatable themes such as growing up, nostalgia, and fractured relationships that makes her musical case that much more compelling. Taylor Acorn has everything you’d want in a rising songwriter/performer, and she puts it all on full display on her sophomore record called Poster Child. “This record feels very personal but it feels nostalgic at the same time,” Acorn shares about the lyrical theme of Poster Child. “I feel like some songs are kind of on the angry side and are very vulnerable, but there’s also a lot of songs that made me feel really nostalgic for my childhood where you could go to the Warped Tour as a 15-year-old and there’s no worries about that.” By connecting to her past, while still moving her songwriting forward in exciting new directions, Acorn has all the makings of a star burning its brightest at the right moment in time.
Read More “Taylor Acorn – Poster Child”Review: Yungblud – Idols
While I have been aware of the artist known as Yungblud for awhile, I honestly never took the time to dive deeper into his discography until now. What I found, when I dove into his latest work, is an artist willing to take big risks in favor of achieving the ultimate reward. Yungblud self-described his fourth studio album of Idols as “a project with no limitations.” It’s easy to see where this pays off on this LP that is brimming with rockstar swagger and great songwriting. Produced alongside longtime Yungblud collaborator/writer, Matt Schwartz, and coming off marquee moments in his career such as an Ozzy Osbourne tribute and a newly announced EP with members of Aerosmith, Idols proves that this young artist has truly arrived and is ready for his moment.
The ambitious record opens with a sprawling nine-minute single of “Hello Heaven, Hello” that takes the listener on a picturesque journey through rock n’ roll lore, and sets the tone for the rest of the great material that follows. The opening lyrics of, “Hello, are you out there? / Are you trying? Are you patient? / Are you blind? / Are you with me? Against me? / Don’t know me at all,” finds Yungblud asking his audience if they’re ready to take this journey with him that plays out like a love letter to classic rock records such as Pink Floyd’s The Wall. Comparisons aside, the opus of an opening statement comes across really well, and it’s a brash way of starting a record that doesn’t conform to industry norms or “rules.”
Read More “Yungblud – Idols”Review: All Time Low – Everyone’s Talking!
Many people don’t know how just how close All Time Low were from walking away from the music scene. After a dark cloud surrounded the band shortly after the release of Wake Up, Sunshine regarding allegations of misconduct, there was a bit of uncertainty of how or if All Time Low could move forward. After the allegations were deemed to be fabricated, the band decided to move forward with the release of their ninth studio album, Tell Me I’m Alive and a re-recording of their earlier material called Forever Sessions Volume 1 in hopes of rekindling their love for making music together. In an interview with Rolling Stone, the band shared that this period, “…was at a time when I think we weren’t sure if we wanted to make another album. I think maybe you do this long enough and you’re like, ‘Maybe we’ve told the story. Maybe we’ve said all that needed to be said, and maybe there’s not much left for us to say.’ But we’ve had this newfound sense of belonging to the band and this love for it that was rekindled, and we said, ‘I think there’s another one in the tank.’ It’s a good thing that All Time Low decided to regroup, as Everyone’s Talking! ends up being some of the band’s best material to date.
Read More “All Time Low – Everyone’s Talking!”Review: Heartwork – Three Alley Cats and The Impossible Sky
Goodbyes are always hard. Whether it’s breaking up with someone who you once thought was “the one”, or just saying goodbye to a friend you know you won’t see for quite some time, that feeling of the unknown of what comes next can be crippling. Heartwork have released their final album today called Three Alley Cats & The Impossible Sky that marks a proper send-off for the genre-blurring project of Dan O’Dell. O’Dell shared, “The main thing was to say everything I needed. Heartwork has been a huge part of my life, but it’s time to put it to bed and move on—after a well-earned break.” Three Alley Cats & The Impossible Sky marks an important last step in Heartwork’s artistic growth, and he says goodbye with grace on a record filled with plenty of twists and turns, and nods to the height of our scene during the early 00’s.
Read More “Heartwork – Three Alley Cats and The Impossible Sky”Review: Wolves At Bay – Dissolve
The first new taste of music in more than ten years from Connecticut post-hardcore band, Wolves At Bay, showcases the band’s sense of urgency in re-capturing the magic from their earlier material. Dissolve is an eight-song album that adds in some textural and electronica sounds to round out the band’s attack and approach to their songwriting. Wolves at Bay shared: “This chapter marks a true rebirth. The connection between us has only grown stronger with time, and that bond is felt in every chord and lyric. Dissolve isn’t just about returning—it’s about starting again with purpose.” By putting a strong step forward in their “rebirth”, Wolves at Bay waste little time in returning to the rock scene at full speed ahead.
Read More “Wolves At Bay – Dissolve”Review: 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 florescent 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.
Read More “Yellowcard – Better Days”Review: 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.
Read More “Green Day – Warning”Review: 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.
Read More “AFI – Silver Bleeds The Black Sun”Review: 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.
Read More “Thrice – Horizons/West”