Review
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Review: Anxious – Bambi

Anxious - Bambi
Adam Grundy

There are only a handful of albums that I can vividly remember grabbing me from the very first note and never letting up until the dramatic conclusion. Bambi falls firmly in this category. The sophomore effort from the Connecticut-based punk band, Anxious, solidifies the effort that the band has put in on tour and in the studio to make their most fully realized work of art to date. Produced, engineered, and mixed by Brett Romnes (The Movielife, Front Bottoms, Oso Oso) at The Barber Shop Studios, Anxious take big risks and are rewarded for these leaps of faith over and over again. While Little Green House introduced the world to Anxious, Bambi knocks the doors right off the hinges with a great immediacy to their sound that is sure to take the scene by storm. The early favorite for 2025’s Album of the Year has arrived.

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Review: The Lumineers – Automatic

The Lumineers
Adam Grundy

Few bands are as steadily consistent as The Lumineers. The band has returned on the cusp of their successful fourth studio album, 2022’s Brightside, with the fresh sound found on Automatic. The record ends up being some of their strongest work since their sophomore effort (Cleopatra) and hones in on the live elements of their sound that came through so nicely on their recently released live album, Live From Wrigley Field. The Lumineers know what they’re good at, and they accentuate those parts of their music into another strong showing here. Led by the core members of Jeremiah Fraites (drums, percussion, piano) and Wesley Schultz (vocals, guitar), Automatic cuts to the heart of what it means to be a passionate band that makes meaningful songs for the masses. The Lumineers will be gearing up for supporting Automatic on a large-scale stadium tour this Summer to showcase what makes their band such a marquee act.

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Review: TopHouse – Practice

Adam Grundy

Coming hot of the heels of their last EP, Theory, that was released last May, Practice rounds out the approach that TopHouse were going for in their vision for their music. While Theory was filled a sense of optimism, Practice is a bit more grounded in the places around us and it contemplates our very existence in this crazy world. “We didn’t start out writing these songs with a two-part set of EPs in mind,” says lead vocalist Joe Larson. “But when they were written and we were looking at how to arrange them on an album, the clear delineation of themes became pretty apparent. The idealistic, hopeful worldview that we can all strive for in Theory, up against the hard reality that life doesn’t always work out the way we want in Practice.” With a indie folk sound that fits somewhere in the realm of early-Mumford & Sons, paired with the picturesque singer-songwriter vibes of Noah Kahan, all with polished musicianship like The Lumineers, TopHouse remain on top of their game here.

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Review: Amber Pacific – All In

Amber Pacific - All In
Adam Grundy

Coming back to a place after a long time away can bring back a flood of memories when you finally arrive back to that same location. The same feeling can be adapted to when bands we love return after a lengthy hiatus and take us right back to that time when we felt like the music they were creating made us feel better about the world around us. Amber Pacific have returned with their first full-length record in eleven years, with All In. Guitarist/vocalist Will Nutter shared about the feeling of the new record by describing that, “It will captivate you as soon as you hit play and will keep you engaged as it takes you through each phase of the song, bringing unique sounds and intricate parts from start to finish. A throwback that’s made for the AP faithful but one that also aims to attract new fans to the world of Amber Pacific as we approach the release of our fifth full length album.” By making an album that feels simultaneously like a burst of nostalgia, paired with a sense of urgency to reclaim their spot in the crowded pop-punk scene, Amber Pacific put their most authentic selves forward on All In.

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Review: Zaq Baker – “Bri”

Zaq Baker - "Bri"
Adam Grundy

Just in time for Valentine’s Day, Zaq Baker has returned with a nice ballad about falling head over heels in love, called “Bri.” The song is filled with some sweeping instrumentation, swooning synths, and cool atmospheric elements added into the mix to ensure it tugs on the right heartstrings. As Baker opens with, “I think I understand those love songs / At least the sensations they describe / I never thought I was above it all” you can tell that he is connecting deeply with the person that makes him feel most complete.

The track was produced by Hunter Sinclair Hawthorne and was mixed by Alec Ness. The latest single is perfect for fans of bands like Hellogoodbye, Owl City and MUNA, as Baker finds just the right vibe that sounds familiar, yet utterly unique to him.

Review: The Academy Is… – Almost Here

The Academy Is… - Almost Here
Adam Grundy

The record that started it all for The Academy Is, and made an instant star out of vocalist William Beckett, has turned 20 years old. In the flurry of bands signed to the label Fueled By Ramen, The Academy Is seemed to be one of the more immediate success stories. The band had formed in 2003, put out their self-titled EP in 2004 and would craft enough material to release their formal full-length debut, Almost Here, in early 2005. The set was produced by James Paul Wisner and he does a nice job of accentuating the band’s strengths. The Academy Is would be staples on the Warped Tour and would later release two subsequent full-length records before going on hiatus in October 2011. Almost Here spawned three singles in “Checkmarks,” “Slow Down,” and “The Phrase That Pays” and by October 2009 the set had sold over 250,000 units.

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Review: Zaq Baker – Unspectacular

Adam Grundy

There’s a lot that can be said about novels that are filled with sharp wit, cheeky dialogue, and relatable storylines to maintain key connections to the material. Zaq Baker has recently released his debut novel, called Unspectacular, that takes a look at a character named Mae Strand who is somewhat pursuing a career as a vocalist. One particular line in the middle section of the novel states, “Some people say water maintains memory, holds it inside, safeguards it, can transport it across places and peoples. This is how I feel about music – recorded music especially. Albums, after all, live forever.” This nice quip is easily relatable for me, personally, but I feel a lot of music fans would also identify in quotes like this. Baker’s ability to mix just the right amount of believability and characters similar to many in the music industry may have come across makes for a memorable reading experience.

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Review: Anberlin – Never Take Friendship Personal

Anberlin - Never Take Friendship Personal
Adam Grundy

Because time is a cruel beast, Never Take Friendship Personal has turned 20 years old and yet it still packs that same urgency of a band hungry for more. More exposure, more fans, and plenty more music! The record itself is as gripping as they come, especially in a scene where so many emo bands were exploding out of the gate and into the pages of magazines like Alternative Press. What set Anberlin apart from the pack was their ability to lean into the genre’s best parts: anthemic and heartfelt vocals, searing guitar parts, and well-constructed songs that made a lot of sense and still had a lasting impact on the listener.

I think the first time I heard the band name Anberlin was when I saw the young band take the stage in Baltimore, Maryland opening for Bayside. This must’ve been close to 2005, because I can vividly remember their set comprised almost entirely of material from Never Take Friendship Personal. I was instantly hooked on lead vocalist Stephen Christian’s energetic stage presence and his vocals were top-notch that evening. Later on that same weekend, I traveled to my local Best Buy to pick up a CD copy of the album, and I was immediately transported back to that fateful evening in Baltimore where I would discover one of my favorite bands of all time.

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Review: L.S. Dunes – Violet

Adam Grundy

After a band as talented as L.S. Dunes is crafted their stunning debut album, Past Lives, the pressure was compounded for them to deliver once again. Luckily the “supergroup” of drummer Tucker Rule and bassist Tim Payne (Thursday), guitarist Frank Iero (My Chemical Romance), guitarist Travis Stever (Coheed & Cambria) and vocalist Anthony Green (Circa Survive, Saosin) are well up to the task at hand on Violet. The set was once again produced by veteran hit-maker Will Yip and showcases the subtle improvements the band has made to their already dynamic sound. The record is filled with several ambitious moments that hit the listener in the feels right away. Look no further than the opener of “Like Magick” that starts off with Green doing his vocals a cappella before the rest of his bandmates join in on the mix.

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Review: Strategies – “Presence”

Adam Grundy

Formed remotely during the pandemic, the band called Strategies is back with a new single called “Presence” that reminds me a bit of the softer elements of emo rock bands like American Football and Further Seems Forever. The band begins the song with smooth sounding vocals paired with a lush instrumental background to help set the stage for the track. The single showcases the band’s ability to let the music flow right through them and create unique art with their inspiration. Clocking in just under the three-minute mark, this quick song is sure to remain in your headspace long after the last note is played out. The future looks bright for Strategies.

Review: Le Big Zero – “How Very”

Adam Grundy

On the latest single from Brooklyn, New York punk band, Le Big Zero, called “How Very” they channel their love for big pop hooks and cool instrumental breakdowns in an interesting delivery. The lead track from their forthcoming EP titled How To Use a Semicolon, the dual vocals of songwriter/guitarist Michael Pasuit and singer Carolina Aguilar mesh well as they harmonize throughout the electric song. The track begins with an old school drum beat supplied by Lukas Hirsch, before breaking into some uncharted territories with an electric bass line from Ben Ross to get the song moving in the right direction.

What starts off as kind of a Weezer-stylized, or the fictional band The Wonders, type of track, Le Big Zero expands on their musical approach quickly. The song takes the listener on a wild ride and leaves the anticipation high for the other two songs on their new EP.

Review: The Backfires – This Is Not An Exit

Adam Grundy

Formed in 2018, the NYC and London-based band, The Backfires are Alex Gomez (vocals), Harry Ruprecht (guitar), Max Wanduragala (drums), and Matt Walter (bass), and their debut LP titled This Is Not An Exit is a thrilling mix of dance-able indie rock. When speaking on the cover art and LP title, Alex Gomez shared, “We took the name from this white sign with big red letters that’s backstage at the Mercury Lounge. I don’t know what’s behind that door, but I know wherever this record leads is deeper inside. This record is a culmination of our years going back and forth between shows, between continents. It’s the end of a chapter, and the start of an era.” What is found on This Is Not An Exit is an entry point to a solid combination of artistic styles that quickly resemble the anthemic pop-rock of The Killers, the working-man pub rock of Catfish & The Bottlemen, and the beats of Franz Ferdinand, all put on blend in a crowd-pleasing concoction.

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Review: Teddy Swims – I’ve Tried Everything But Therapy (Part 2)

Adam Grundy

There’s a lot for the Atlanta-born vocalist Teddy Swims to be proud of these days. From the speedy success of his debut album called I’ve Tried Everything But Therapy (Part 1), to the chart-topping smash of “Lose Control”, paired with a Best New Artist Grammy nomination, plus the wonderful news that his girlfriend Raiche Wright and him are expecting their first child together, leads to the assumption that Teddy Swims must feel like he’s walking on air. The second part of Teddy Swims’ journey in the music world picks up right where he left off, offers stunning vocal performances, and a more optimistic outlook. Teddy Swims shared, “I thought that I was in such turmoil and heartbreak on the first one and it was nothing but questions and there was no real closure. So I thought that was important, especially with the title, I wanted to go into finding love again, learning how to move on, going to therapy and showing the healing process. Like, ‘Here’s me on the other side of all that mess.’ I’m so happy to be here on the other side of that mess, because it’s lovely.” You can feel the passion behind each lyric, each note, each precise beat, as everything clicks succinctly into place on this wonderful sophomore album.

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Review: Crossing I’s Dotting T’s – “You, In Everything”

Adam Grundy

The latest single from Alt Rock band Crossing I’s Dotting T’s, called “You, In Everything”, recalls the days of when grunge and post-rock dominated the radio airwaves, albeit with a modern twist. The single was produced by Max Dickenson and Lars Deutsch, and showcases the improvements made in the band’s sound that keeps the vocals front and center, while adding in some interesting guitar sounds similar to bands like Deftones, Superheaven, and Hum.

The song builds around the chorus of, “Tell me what it means / See you in everything / Tell me what it means,” that feels like 90’s Alternative magic and recounts the singer’s tortured feeling of visualizing a person they can’t seem to get out of their head. The bridge features shouted vocals paired with heavy power chords and plenty of fuzz pedals to round out the sound they were going for here. Crossing I’s Dotting T’s plan to rally around this lead single bodes well, and their forthcoming EP this Spring should garner some extra attention.

Review: The Maine – Dyed (2008

Adam Grundy

The surprise new album from The Maine dropped mid-week, just as many fans of the band were en route to the 8123 Fest, taking place between January 16-17th in Mesa, Arizona. This new LP, called Dyed (2008 – 2023), features several re-worked demos/ideas from every era of The Maine’s discography, and yet it plays out much better than any other “compilation” of collected B-sides ever would. The reason why it works so well is that The Maine have the confidence to go in any direction they please, as was displayed on their 2024 single “Touch”, and further cemented on this latest record. The band have been no strangers to reinvention, as documented in their dynamic nine-album discography, and yet this album that touches on each of their past recordings showcases what The Maine are capable of creating when firing on all creative cylinders. While it may have been easier for the band to simply dust off these old demos and release them as-is, taking the easy road simply isn’t in The Maine’s DNA. Dyed brings the listener back to where it all started, offers a cohesive journey through their past work, all while still sounding like the band we have known and loved over time that continues to get better with age.

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