After what seemed like a more extended than usual three-year hiatus, Bombay Bicycle Club have made their triumphant return with their fifth studio album Everything Else Has Gone Wrong. Many of the band members dabbled in solo projects during this hiatus, but the band seem as refreshed and re-focused as ever on their latest offering. In a recent statement, the group confirmed this newfound enthusiasm by saying, “More than anything it just felt great to be in the same room playing again. It made us realize what a good thing we have and has given us renewed energy and enthusiasm for the future.” Longtime fans of the band have plenty of reason to be equally excited for the latest chapter in their discography, as the record encapsulates everything the band does well, while still including plenty of new surprises along the way.
On their eighth studio album, Coldplay have made a record that embraces the past while still keeping most of its heart in the present. The double album entitled Everyday Life is broken into two chapters, in “Sunrise” and “Sunset,” and paints a picture of a band with plenty of tricks still up their sleeves. Every detail of this album seems carefully crafted, right down to the artwork mirrored on both the top and bottom. Chris Martin and his bandmates could have made a record in the same vein of their last effort, A Head Full of Dreams, but that’s simply not in Coldplay’s DNA to be complacent with what they have done before. Instead, we are left with 16 songs that sound simultaneously immediate, current, and creative.
On the new album from the South Jersey/Philadelphia band Out of Service, they do a great job of encapsulating the feelings of living with depression, getting help, and coming to terms with living with a mental illness. The wide range of emotions that a person can go through when they realize they aren’t “feeling right” can be both shocking and heartbreaking at the same time, and Out of Service realizes this is a process. In fact, as a person like me who struggles with depression from time to time, Burden spoke to me more than I thought it would from the very first listen.
Allen Stone has a lot to be thankful for as he celebrates the release of his new album, Building Balance: he was recently married, had his first child, and is still finding the time to deliver some more soulful tunes for his faithful fanbase. For those unfamiliar with the artist, he is an incredibly gifted vocalist and songwriter who cut his teeth to classic soul artists such as Stevie Wonder, Marvin Gaye, and Gladys Knight. Stone has a lot going for him on this latest effort, as he finds a way to embrace the past artists who inspired him to sing as well as look forward in his career as he maps out his next move creatively.
For those unfamiliar of the band Mappe Of, you are in for a musical journey not easily found on a sophomore effort. On The Isle of Ailynn, singer/songwriter Tom Meikle is as captivating as anyone in the indie music scene right from the first notes of the record. Kicking off the set with the musical landscape of “Estuary,” it’s clear that Meikle is not afraid to take some calculated risks with his music. From falsetto vocals, to carefully plucked guitars, Mappe Of has a lot going for it on their second record.
Coming off the success of the multi-platinum, debut self-titled album, Third Eye Blind could have gone in several different directions. Would they crash and burn like many of their 90’s peers hitmakers that stormed onto the scene of the height of the music industry, or would they embrace the pressure and deliver a noteworthy record? Plenty has already been written about the drama and in-fighting that went on during the writing and production of their sophomore album, Blue. Yet, I’m going to focus on the music itself which by all points of merit is still pretty damn good even at 20 years of age. The album’s themes are filled with relatable concepts, ranging everywhere from teen pregnancy (“10 Days Late”), physical abuse (“Wounded”), to gushing feelings of love (“Deep Inside Of You”).
On the new album from the pop-punk band, Rational Anthem, called It’s Only Permanent they fully embrace their shiny personalities and have created a collection of songs that are a hell of a lot of fun. Led by the sister/brother duo of Noelle and Pete Stolp, Rational Anthem initially reminded me of some early Fenix Tx records with a mix of the pop sensibilities of Allister. Their longtime friend, Christoper Hembrough, rounds out the band, and Rational Anthem has a lot going in their favor on their latest effort.
From the opening notes of Saves The Day’s now-legendary emo album, Through Being Cool, Chris Conley confidently sings, “This isn’t the way we planned / I wasn’t supposed to forget your taste,” and it’s almost as if Conley and his band knew they might be on to something extraordinary here. The irony behind an album about leaving the cool kids to their cliques, while sitting a few out much like the cover art depicts, is humorous now because Saves the Day became emo legends on this record. Those same kids who wouldn’t give Conley and crew the time of day back in high school, are probably the ones now asking them for autographs after a show. This album was recently overlooked by Kerrang! magazine on the 25 greatest emo albums ever, much to my chagrin.
Looking back at the numerous bands influenced by this band and this album, in particular, one can not merely brush this record off as just another emo album. Instead with heart-on-my-sleeve lyrics about their hometown on songs such as “You Vandal,” where Conley sings, “I woke up to my cold sheets and the smell of New Jersey / When do I get to wake up to you?” there was no stopping this band’s ascent into greatness.
The 15th anniversary of the My Chemical Romance classic has come and gone, but with the recent news of them reuniting, I just couldn’t wait five more years to write about Three Cheers For Sweet Revenge. I vividly remember my first time hearing this record. I was a 21-year old, shopping at my local Hot Topic, browsing the listening station of the recent CD releases. The Three Cheers artwork grabbed my attention from the first look, and I knew I had to see what the band had come up with, having only seen them open up for The Used at the 9:30 Club about a year prior. The album was produced by one of all-time favorites, Howard Benson, and had it not been for my immediate trust in the producer; I may have waited to purchase this album until a few weeks later. What I was not expecting was just how professional, polished, and amazing the record was, as I became immediately transported into the world of MCR. From the opening notes of “Helena,” I knew this band had created something incredibly special, immediate, and gripping from the very first listen. It’s safe to say that this immediate purchase of the record was not one that I came to regret.
Rewind for a minute back to 1999. Nu-metal looms large with bands such as Limp Bizkit and Korn dominating the airwaves and record sales. RollingStone magazine is saying for the millionth time that rock is dead, or at the very least, on life support. Little did that magazine realize, a small yet remarkable movement was taking place. Incubus had started to establish a good career for themselves on their sophomore studio effort S.C.I.E.N.C.E. , and were slowly but surely getting rock fans to turn their heads towards the Calabasas-based band. Enter the third studio album, Make Yourself that has just turned 20 years old. Produced by veteran hit-maker Scott Litt, Incubus made a conscious effort to leave the nu-metal bands they built a scene with scratching their heads in disbelief as the band would evolve their sound into an alternative rock powerhouse that would go on to sell over two million records in the United States alone. While Incubus had grabbed my attention on S.C.I.E.N.C.E., they became my new favorite band on Make Yourself.
I often wonder if Ian Curtis had any idea of the legacy Joy Division would have on musicians young and old. I wonder if he predicted the emergence of a platform like Tumblr, where teenagers who heard “Love Will Tear Us Apart” one time subsequently purchased Unknown Pleasures banners and proudly hung them over their bedroom doors. Curtis ripped open the door for artists keen on expressing the inner turmoil bubbling beneath the flashing lights and glam rock tunes of the 80s, with his lyrical emphasis on alienation and loneliness. Radiohead, The Smashing Pumpkins, Interpol and Danny Brown (his fourth album, Atrocity Exhibition is named after the Joy Division song) are just a handful of artists who wouldn’t have evolved into the artists they are without the fleeting existence of a little post-punk band from Salford, England.
Now, New York-based electronic artist Chris Stewart has released his third album under the Black Marble moniker, Bigger Than Life. The album follows 2016’s It’s Immaterial, which was labeled as an “Ian Curtis-garage dance party you’ve never been to” by Kristin Porter at SLUG Magazine. With comments like that, Stewart left himself nowhere to go but up. More coldwave than his post-punk roots, Bigger Than Life hosts another dance party, adding a bit more polish without depriving us sad suckers the melancholia we so crave.
The mystery, indecisiveness, and possible controversy surrounding Third Eye Blind’s sixth studio album only added to the allure and likability of Screamer. In many interviews, front-man Stephan Jenkins went as far as to say that there would never be a sixth studio album from Third Eye Blind, which came as a big shock to those who have been following the band during this decade. Coming off multiple successful tours with their name at the top of the bill, Third Eye Blind has done plenty to remove themselves from the pack of 90’s bands who could only dream of Jenkins and his bandmates’ sustained success. Dopamine, their last proper full-length was released in 2015, and they followed that record up with an equally charming collection of cover songs affectionately titled Thanks For Everything. With such an ominous EP title, one could only think Jenkins was living up to his word about hanging up the studio production output from the Third Eye Blind moniker. Luckily for us, Jenkins and 3EB’s long-time drummer Brad Hargreaves, guitarists Kryz Reid and Colin Creev, and bassist Alex LeCavilier collectively came together to deliver Screamer.
When I first got word of Mark Hoppus and Alex Gaskarth joining forces for a band that would become Simple Creatures, my reaction was that they would be able to play off of each other’s strengths as songwriters and musicians brilliantly. Little did I know that this side project of sorts would morph into one of my favorite electronica-driven new bands to come out of this decade. Twelve songs later into their debut in 2019, and we are left with a much better picture of who Simple Creatures are. Whereas Strange Love was an introduction to the band and what they were capable of, Everything Opposite finds Mark and Alex at their most confident, accomplished, and strongest.
At least on the surface level, the title for Jimmy Eat World ‘s 10th full-length album feels like a proclamation. Surviving. Not many bands know quite as much about surviving as Jimmy Eat World. They’ve weathered a lot over the years: getting dropped by their first major label; being (incorrectly) considered a one-hit wonder by many; being a part of a genre and a music scene that most critics have always written off; touring with Third Eye Blind, apparently. Perhaps the most impressive thing they’ve survived is time. When I first started seriously listening to Jimmy Eat World, they’d been a band for ten years and were about to release the follow-up to their breakthrough LP. Fast-forward a decade and a half, and the band is celebrating 25 years and ten albums. They’ve kept the same four-person lineup since 1995 and have released a new album, like clockwork, every three years since 2001. And they remain as beloved today as they ever have been—a go-to “favorite band” for seemingly every person who follows them.
Bodega burst onto the post-punk scene in July 2018. Teeming with style and homages as overt as The B-52s and Gang of Four, the Brooklyn-based band’s debut album, Endless Scroll displayed an intelligent, witty group with a fully formed catalog of ideas. “Your playlist knows you better than a closest lover,” sings Ben Hozie on “How Did This Happen?!,” a biting take on the guilt of “the cultural consumer.” In “I Am Not A Cinephile,” Bodega challenges the systems of imperialism, racism, misogyny, and capitalism that allowed the universe of Alfred Hitchcock to be filmed. Co-vocalist Nikki Belfiglio channels riot-grrrl energy in an ode to female pleasure in “Gyrate.” Album highlight, “Truth Is Not Punishment” has two appearances (Long and Short) on the band’s new EP, Shiny New Model.
Endless Scroll quickly established Bodega as a band that questions oppressive systems, male idols, and consumerism. After a year of touring, the making of Shiny New Model marked a series of firsts for the band. It’s the only recording session they’ve had in a studio, the first recording with new drummer Tai Lee (previously a performer in the show STOMP), and the band handled production for the first time. On Shiny New Model, Bodega presents a new bunch of questions. This time around, there’s even more ground to cover.
When I last spoke with Vinnie Caruana a few weeks ago, he was incredibly excited to share his solo record Aging Frontman with everyone. Now that I’ve had some time to absorb everything that is in this fantastic album, Vinnie and my conversation still sticks in mind with his cautious optimism towards his outlook on not only his music, but his life and accomplishments as well. Aging Frontman on the surface is an observation of Vinnie’s outlook on his great career with bands such as The Movielife, and I Am The Avalanche, yet this solo record solidifies an even greater standing with just how accomplished a musician and songwriter Vinnie Caruana is and has become.
There’s not much of a tradition of emo in the UK. In the 90s, emo developed so geographically that the generally-used term for it is ‘Midwest emo,’ since its sound was incubated by bands like Cap’n Jazz from Illinois, The Promise Ring from Wisconsin, The Get Up Kids from Missouri. That’s not to say that that scene was by any means insular; Texas is the Reason from New York, Jimmy Eat World from Arizona and Mineral from Texas all had distinctly ‘Midwestern’ sounds, and the forebearers of any one of those bands were Sunny Day Real Estate from Washington state and Jawbreaker from California. Plus, none of it would have happened without the Revolution Summer bands from DC, most notably Embrace and Rites of Spring, and perhaps, more importantly, Fugazi which sprung from both of them. Cross-country touring, plus zines and demo exchanges, meant that emo was pretty effectively shared across every corner of the States. Many of those bands did tour the UK too – Braid and The Get Up Kids went over there together in 1998 – but it seemingly wasn’t enough to imprint on the UK its own parallel scene, at least not one that made enough of an impact to enter the canon of emo as we talk about it twenty years on.
What we have now is ‘fourth-wave’ emo (also known as emo revival), a spiritual continuation of that Midwestern scene, with the difference being that this one was and is built heavily around Bandcamp, Twitter, and online blogs like PropertyOfZack, The Alternative and, yeah, Chorus.fm. Since house shows and local community amongst bands are still key to DIY, it didn’t bring about a total eradication of geography – ask anyone about the Philadelphia scene, for example – but it does mean that now there’s no ocean for music to travel, bands that emulate the 90s Midwestern sound can pop up anywhere.
When The Lumineers set out to record the follow-up their highly successful sophomore effort, Cleopatra, the band managed to raise their expectations for what would become III. The album is presented in three chapters: each coming with their own set of themes, topics, and overall feel. The album itself progresses nicely as it unfolds over these chapters, and co-founder/multi-instrumentalist of The Lumineers, Jeremiah Frates mentioned in an interview that, “This collection of songs worked out in a beautiful way, and I feel with this album we’ve really hit our stride.” The confidence that comes through on this record can be felt, but it’s a bit of a departure from the upbeat nature of their second record. What we are left with is an “artist’s record” that stays true to who The Lumineers are as both people, as well as musicians.
At the end of 2016, Sturgill Simpson managed maybe the most unlikely Grammy Album of the Year nomination of the modern era, for his third LP, A Sailor’s Guide to Earth. A few months later, he lost that particular award—to Adele—but did manage to walk away with a Grammy for Best Country Album. None of those things are going to happen again, and it’s not because Sound & Fury, the long-awaited follow-up to Sailor’s Guide, isn’t great. Rather, it’s because Sound & Fury 1) isn’t a country album, and 2) is even more blatantly unmarketable than its predecessor.
In a lot of ways, Sound & Fury is an anomaly in the 2019 music world. It’s the sound of a guy who was once hailed as a country music savior—first for his trad-country debut High Top Mountain and later for the experimental, boundary-pushing Metamodern Sounds in Country Music—callously tossing that mantle in the fire. It’s also the sound of an artist who was on the cusp of superstardom—maybe not quite Chris Stapleton/arena-concert-tour level, but close—walking away from it. Finally, it’s a loud, dirty, unapologetic ‘70s-style rock album—the kind that absolutely no one makes anymore. The guitars are so loud and so prominent that they sometimes threaten to drown Sturgill’s voice out entirely. Not that he’d probably mind.
The inherent nature of a “goal” is to be currently out of reach. Whether far down the road or just fingertips away, goals are the checkpoints we set to help us navigate the uncertainty of life. But the problem, ironically enough, is that uncertainty turns out to be one hell of a goaltender. It’s a relentless opponent that’s not above mind games, and if left unchecked, will tug at the threads of our insecurities until we’re left completely unwoven. Fortunately for So Money, Baby, the Arizona quartet known as Breakup Shoes have provided a bit of sugar for the pill, pairing soda pop sweet, surf-flavored indie rock with a bare-skinned attempt to snip the thread and prevent further undoing.
Mid-album single “Accessory” hits on the central theme surrounding vocalist Nick Zawisa’s core emotional vulnerability — an unrequited love. With a warm, muted bass tone, Derek Lafforthun drives his bandmates through mellow verses in a lackadaisical swagger, crafting a melody of his own before giving way to a subtle, but undeniably strong vocal hook: “I just want to be what you hold close / I just want to be who you love most”. The majority of the lyrical content throughout So Money, Baby is spent this way, deliberating on “what if” scenarios penned by a hopeless romantic. Frankly, there’s not much to be said for it — often left to be desired across the record is a semblance of nuance in exchange for the melodrama. But in the moments where Zawisa opts to deviate from the norm, he briefly lifts the veil to a more compelling premise: the longing to be wanted at all, and the seeping dubiety in meditating on his goals of finding any form of significance in a life outside his own.