Review: Butch Walker – As…Glenn

A bar band balladeer playing songs in a smoky dive, hammering away at the piano and spilling his soul onto the keys as the hour gets progressively later and the inattentive crowd gets progressively more intoxicated. Or maybe there isn’t much of a “crowd” at all and he’s mostly playing for the bartender and a few drunk regulars. For so many musicians, these sentences describe a day-by-day and night-by-night reality. Getting gigs is easy; getting the audience to pay even an ounce of attention is hard. And yet, if you live that life, you still show up every night, seeking solace in the songs you’re playing and hoping that, one of these nights, even one other person will find meaning in them too.

We tend to think of careers in music as glamorous, but if you’ve actually tried your hand at one, you know the reality is something else entirely. It’s late nights and long tours and loneliness. It’s drunk people talking over your songs. It’s the sting of polite but passionless applause. It’s bar fights breaking up your set and derailing any momentum you felt you had going onstage. It’s the hope that maybe this song, maybe this show, maybe this night will be different; maybe this one will be the big break. And it’s the crushing disappointment of your reality consistently falling well short of your expectations.

On his 10th full-length album, Butch Walker turns all of this not-so-glamorous musical reality into fertile ground for the best music he’s made in years. The album in question, Butch Walker As…Glenn, is a not-quite-concept-album about a bar singer named Glenn (Butch’s middle name) and the songs he plays in his set on any given night, in any given pub, in any given town in America. Unlike Butch’s last album, 2020’s full-blown rock opera American Love Story, there isn’t really a firm narrative here. The concept is little more than a framing device, with the album starting on an introduction of the titular singer, ending with an encore, and featuring a skit about one of those aforementioned bar fights somewhere in the middle.

But listen to the songs themselves and you can hear how the spirit of the concept bled into Butch’s writing for this album. All the big-dream romanticism and all the weathered weariness of being a working-class career musician is there in the music, and the album knits those conflicting emotions and moods together into a surprisingly poignant treatise on resilience and the beauty of a no-frills, knockout song. Will Hoge once wrote: “Keep on dreaming if it breaks your heart.” Glenn is all about the musicians who keep dreaming that dream year after year, looking for moments of transcendence amidst colorful stage lights and bar floors sticky from decades worth of spilled beer. Some nights, you find that transcendence. Other nights, it might as well be a billion lightyears away.

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Review: R.E.M. – Chronic Town

Coming up in the early part of next week is the 40th anniversary of the debut EP from R.E.M. called Chronic Town. The band is celebrating this momentous occasion/birthday with a re-issued CD, cassette, and vinyl picture disc that is releasing today. Featuring pop gems like The Smiths-esque “Gardening At Night,” to The Cure-sounding “Stumble,” and “1,000,000,” the five-track EP solidified R.E.M. as a name to watch in the early part of the 80’s. As lead vocalist Michael Stipe puts it on the detailed liner notes in the package, “We started like a lowly caterpillar, a pupa stage, then a chrysalis, into something resembling a pop band.” It’s a fairly accurate depiction of the sound that comes shining through the speakers on this endearing debut EP. You can definitely hear traces of where the band would take their sound on their debut LP Murmur that began to make R.E.M. a recognizable name.

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Review: Blindside – Silence

Usually you can point to certain moments in time when your taste in music changes to broader categories. For me, it came in the form of Blindside and their aggressive, yet melodic, third studio album Silence produced by veteran hit-maker Howard Benson (Hoobastank, Papa Roach). For quite a long time in high school, and even parts of the beginning of college, I was stuck in an Alt Rock and pop-punk phase that was tough to break free from for other genres of music. Enter Blindside and their hard-nosed guitar approach, semi-screamed vocals paired with melodic breakdowns, and my music world was turned upside down. Going down the rabbit hole of post-hardcore music led to my discovery of bands like Underoath and Thursday, and prepared me to be more open to different stylistic choices in our scene’s wide umbrella of artists that would appear on a Warped Tour lineup.

Silence is anything but a silent-sounding record. It’s aggressive, pulsating, and the tones of the guitars, bass, drums, and searing vocals made for a dynamic and sonically interesting band in Blindside. Whereas their previous effort A Thought Crushed My Mind left little room for melodic breakdowns, Silence had just the right combination of punishing guitars and screamed vocals mixed with a more radio-ready sound. The record would end up peaking at #83 on the Billboard 200.

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Review: Don’t Panic – “Conquer Divide”

The latest taste of music from Phoenix Alt Rock band, Don’t Panic, sets off the alarm bells of urgency on ”Conquer Divide.” The song comes from their soon to be announced LP, 24, and follows their lead single “Time Machine,” and further showcases the band’s captivating songwriting. A little fun fact is that lead singer, Dylan Rowe, was in the mix to replace Flyleaf’s vocalist a few years back. Rowe shines all over this great-sounding single that cements Don’t Panic as a band to watch as the year unfolds.

The track opens with some well-placed synths, roaring guitars, and perfectly in-time drums before bleeding away for Rowe’s great vocals to lift the song to new heights. What Don’t Panic do best on this song is slow-building to a crowd-pleasing, anthemic chorus to keep the interest high in their brand of alternative, radio-ready rock. The bridge features a slow-downed section that allows the band to take a quick breather before exploding back into a wall of sound for the final chorus to leave a great taste in the audience’s mouth, and leave them clamoring for more. The guitar tones, in particular, on this song are very powerful and full-sounding and much like the Leonardo DiCaprio movie quote of, “You had my curiosity, but now you have my attention,” Don’t Panic have certainly made me a fan.

Review: PONY – “Peach”

The latest single from indie pop rocker PONY is a blast of fuzzy guitars and vibrant vocals, called “Peach.” Singer/guitarist, Sam, mentioned this about “Peach,” “I think Peach is probably the most vulnerable song I have ever written. After all, what’s more vulnerable than a Peach? Some years ago I found myself in a relationship with someone who initially treated me like I was so special. But little by little the love seemed more and more conditional. With every bit they tried to control what I wore, who I talked to, and what I did – I lost a part of myself. It took me years to realize I was completely gone and I mistook abuse and manipulation for love. ‘Peach’ is about realizing that someone who wants to have control over you is not someone who loves you.” Out of this vulnerability comes a great self-empowering anthem of overcoming the lowest of lows. With a sound that drifts somewhere between Bully, paired with the pop sensibilities of Olivia Rodrigo and Phoebe Bridgers, PONY is well on their way to becoming your next great musical discovery.

The song starts off with some soft vocals from Sam before breaking away into some grunge-pop power chords that speak to the conflict brought forth in the lyrics. At the surface, it feels like a nice, summery pop anthem that would be perfect for those long summer drives. The reality is PONY have created such rich conflict in the lyrics about losing a part of oneself along the way to discovering what makes us tick, that it’s really hard to distance yourself from these personal issues the artist is experiencing. Overall, PONY have created a worthy single that continues to keep the interest high in this incredibly talented artist.

Review: Yellowcard – Southern Air

Yellowcard - Southern Air

By default, the most important Yellowcard album is Ocean Avenue. It’s the one that made the band stars, the one that gave them a classic hit that still lingers in the cultural bloodstream, and the one that provided them with the platform to launch a long, rewarding career. But Southern Air, the band’s eighth studio album, is uniquely vital to the band’s story too, because without it, the Yellowcard arc would feel incomplete. It was the album that took everything they’d been building toward and everything they’d been promising as a band and captured it all perfectly in 10 songs and 40 minutes. It’s not the most famous Yellowcard album, and there are days when it’s not even my favorite, but it is the best single-album distillation of what this band was capable of when they were at their best. And somehow, it’s 10 years old this week.

When Southern Air came out, it felt like Yellowcard had a lot of gas left in the tank. The band had just roared back to life the year before, with 2011’s When You’re Through Thinking, Say Yes, and Southern Air felt like the blockbuster sequel to that album. The two records share a lot, from their fleet 10-song tracklists to the faux vinyl wear rings that are drawn into the album art. Like two movies in a duology, they play beautifully as companion pieces – When You’re Through Thinking coming across as the origin story and Southern Air playing as the bigger, bolder, louder sequel that deepens the themes of its predecessor. In 2012, it felt like Yellowcard could keep making these types of albums forever, but looking back, Southern Air feels oddly like a swansong. The band would make another two LPs after this one, but this version of Yellowcard – this lineup, this sound, this aesthetic – would never exist again.

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Review: Unwritten Law – The Hum

Just like the famous quote from the character Michael Corleone in The Godfather: Part III of, “Just when I thought I was out, they pull me back in,” can be directly re-applied to the case of Unwritten Law. The band seemed to have a tough time getting that “magic” back on the past few releases like Swan, and at-times Here’s to the Mourning, something appeared to be slightly out of sync in the band’s delivery. Enter the era of The Hum, and all appears to be heading back on the right course. The Hum is a cohesive and electric collection of songs that fit well from beginning to end, and feature several key songs that keep the listener coming back for repeat listens. While Unwritten Law doesn’t cover a ton of new ground here, getting the train back on the tracks is the most important thing that the band could’ve done here to re-establish their brand of music in the crowded pop-punk realm.

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Review: Momma – Household Name

The third studio album from Momma is an endearing collection of songs that they have affectionately titled Household Name. Mastered by Grammy-winning engineer Emily Lazar, Household Name captures a great indie rock spirit while still remaining true to the band’s core authenticity that came shining through the speakers on their first two records. The new songs drift in the realm of indie rock bands similar to Momma like Soccer Mommy, Snail Mail, and Beabadoobee, yet some of the guitar tones breathe new life into this group of musicians with a sound similar to Smashing Pumpkins and early-Nirvana. On songs like “Speeding 72,” the lead single from the set, Momma are able to achieve a sound that transcends genre lines and conventional boundaries.

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Review: Gin Blossoms – New Miserable Experience

One of the many fun things about revisiting albums, like this one, is learning out new things about the record that most may have missed when it first came out. For example, while researching the context surrounding Gin Blossoms and their second studio album called New Miserable Experience, I never knew there was an alternate cover that was released for this record. In fact, the first cover for the album depicts an Arizona desert, which would later be replaced with the current image after A&M Records decided to push the record hard at radio outlets. With singles like “Lost Horizons,” “Allison Road,” “Until I Fall Away,” and arguably their biggest breakthrough single called “Hey Jealousy,” Gin Blossoms had everything you’d like to see in a band trying to make a name for themselves. The set was co-produced by Gin Blossoms and John Hampton (The Raconteurs, The White Stripes), and this LP holds up surprisingly well after 30 long years. By the time the promotional cycle would wrap up on New Miserable Experience, Gin Blossoms would earn a 4x Platinum record on their sophomore effort.

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Review: Maggie Rogers – Surrender

Her talent is undeniable. Maggie Rogers seemed to be destined for this type of breakthrough success after catching an early break when her song “Alaska” caught the ears of Pharrell Williams in a class he taught at her school in 2016. This would allow the floodgates to open with opportunities of major labels wanting to sign Rogers on the spot. Heard It In A Past Life, Maggie Rogers’ debut, would continue this breakthrough success with marquee support tours with Mumford & Sons, Haim, and Kacey Musgraves before doing an extensive word-wide headlining tour to solidify her status as a name to watch, and she would even get nominated for a Grammy award for Best New Artist along this same timeline. Since the release of her debut album, Rogers decided to go to graduate school at Harvard Divinity School, where she would graduate with a Master of Religion and Public Life degree. This worthy path back to education still allowed Maggie Rogers some time to focus on her music and record what would become the Surrender sessions with producer Kid Harpoon. This set is co-produced by Rogers, and it’s a remarkable achievement in her musical journey. With an album filled with great vibes, soul-wrenching lyrics, unique beats, and the songwriting chops similar to a young Joni Mitchell, Maggie Rogers has created the record she may have only dreamed of making in her youth.

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Review: Andrew McMahon – Three Pianos: A Memoir

Three Pianos

Andrew McMahon sounds like a man who’s been through some really tough situations. From a childhood filled with several moves to different parts of the country, to his dad’s battle with addiction, and his steadfast love for the music that got him through it all, McMahon crafts a tangled web of stories that he divides up into three book sections based on three pianos that have meant something to him at different points of his life and career. Three Pianos: A Memoir is a fairly quick reading experience, especially for those familiar with McMahon’s musical references in his bands of Something Corporate, Jack’s Mannequin, and lastly Andrew McMahon In the Wilderness. This only speaks to his ability as an author to convey such rich, vivid memories from an emotional standpoint that led him to be the man that he is today. As McMahon puts it in his memoir, referencing the transition between Jack’s Mannequin and the start of a new adventure in The Wilderness Years, “Starting over at twenty is easy. At thirty it’s a test of your mettle.” Battling through a leukemia diagnosis, to navigating through several starts and stops in his musical journey, McMahon never lets his difficult story seem hopeless. Instead, he provides a beacon of hope for others to keep pressing on when we reach our own breaking point.

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Review: Anberlin – Silverline

It feels great to have Anberlin back in the music fold. The band seemed very comfortable walking away from the music scene after the release of their last (and at the time, final) album called Lowborn and an accompanying farewell tour, yet fast forwarding to the band’s reconciliation in 2018, where Anberlin would perform several concerts and then in May of 2020, the band announced they would be working on some new music once again. Add in a few livestream concerts during the pandemic, and Anberlin regained their band chemistry and appear to be re-invigorated in the path that lies before them. This passion was felt first-hand in lead vocalist Stephen Christian when I interviewed him about Silverline. Hearing Christian’s take on how these songs came together with producers Tim McTague (Underoath), Chad Carouthers, and JJ Revell only brings further context to the rich tunes that came together on this EP.

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Review: Between The Echoes – “Phantom Limb”

Every now and then you come across a band or a song that makes you feel fortunate to be a music writer. This feeling come in strongly with Between The Echoes and their new single entitled “Phantom Limb.” The track even features some guest vocals from Anberlin’s Stephen Christian towards the end of the song to add to the layers of complexity and conflict within the song’s lyrics. The band is comprised of Chad William, Katie Jean, Marvin Albert, and their unique band chemistry pays off majorly with a crisp pop-punk delivery. With a sound that drifts somewhere between the darkest parts of Finch, paired with the pop sensibilities of Broadside, Between The Echoes are well on their way to making the best use of their moment.

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Review: Coupons – Wasted Intimacy

On the third full-length record from Albany, New York’s alternative rock band called Coupons, they hone in on their songwriting and use the full power of their four band members to contribute to a record entitled Wasted Intimacy. With a sound that tows the line somewhere between Oso Oso, The Format, and Foxing, Coupons appear to be hitting the right groove in their collective approach to their music on this album. From the steady beat found on the opening track called “Mardi Gras” to the spacey closer of “Japanese Whiskey,” Coupons could be just the right band for this strange moment in our lives.

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Review: My Chemical Romance – I Brought You My Bullets, You Brought Me Your Love

All truth be told, I wasn’t an immediate fan of this little New Jersey band called My Chemical Romance that came storming onto the emo scene with I Brought You My Bullets, You Brought Me Your Love. If I remember right, the first song that I ever came across from MCR was an MP3 of “Vampires Will Never Hurt You,” which coincidentally was the first single to be released from the set. Whether the song caught me in a bad mood, or the fact that the emo/screamo/punk rock scene was exploding with more bands and content than my ears or brain could handle at that time, My Chemical Romance never really got its due justice in my regular music rotation. That all changed quickly when I went to Washington, DC’s legendary 9:30 Club in the summer of 2002 to check out The Used. Luckily for me, I made the wise decision to get there early and see if the openers had anything worth checking out. The very first band to take the stage had bad haircuts, fresh faces, and a lead singer rocking a studded belt while donning a leather jacket. Little did I know, I would be watching my future favorite front-man in Gerard Way, and my future all-time favorite band in My Chemical Romance grab the audience by the throat and never let go in the the short 30-minute set that featured songs from Bullets.

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