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Review: Glassjaw – Worship and Tribute

Adam Grundy

Coming off of the release of their Roadrunner Records’ debut LP, Everything You Ever Wanted To Know About Silence, Daryl Palumbo and his bandmates in Glassjaw clearly were fed up with their partnership with Roadrunner, going very far in interviews to explain their disdain for their record label. The band entered 2001 secretly recording the follow up to their debut with producer Ross Robinson (The Cure, Slipknot), and would eventually shop the finished product called Worship and Tribute to several major labels before deciding to sign with Warner Bros. Records. When I first heard the new album, I can remember a certain buzz surrounding several punk websites and forums about this band named Glassjaw who were changing the post-hardcore game. This buzz and hype were certainly warranted with songs like “Ape Dos Mil,” “Cosmopolitan Bloodloss,” and “Pink Roses.” The energy was frenetic, the band sounded larger than life, and there was something immediately special about this group of musicians willing to put their best foot forward to avoid the sophomore slump. Worship and Tribute would debut at #82 on the Billboard 200, largely due to positive word of mouth and critical reception, and Glassjaw would find themselves on several key touring stints with festivals like Ozzfest, The Warped Tour, as well as partnering with Sparta, Hot Water Music, and a US headlining trek in October/November of the same year. Glassjaw were undeniable and they were coming straight for all of their doubters.

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Review: Patterns In Traffic – Lights and Reflections

Adam Grundy

The second full-length record from Patterns In Traffic is a lush, dreamy, and picturesque musical landscape through the lens of self-discovery. The band is the solo moniker of Kyle Simons, who wrote, performed, mixed, and mastered the entire LP by himself, which only speaks to his incredible dedication to his craft. The latest effort, entitled Lights and Reflections, is a nice mix of emo-tinged anthems that drift somewhere between Mae, early Jimmy Eat World, paired with the pop polish of Owl City. The promotional cycle for this record was prefaced by two EPs 2020’s Reflections and 2021’s Lights which have been combined with three additional brand-new songs to make the full artistic statement in Lights and Reflections. Patterns In Traffic are on the right course as Simons’ musical journey unfolds majestically from start to finish.

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Review: Coheed and Cambria – Vaxis II: A Window of the Waking Mind

Adam Grundy

It’s understandable if you weren’t able to fully connect or get into Coheed and Cambria before. Their dense stories about space odysseys and prog-tinged rock may have been a bit intimidating for casual fans to fully immerse themselves in. Luckily for fans who’d be willing to give Coheed another shot, Vaxis II: A Window of the Waking Mind is easily their most accessible set of songs in the past decade, and would be a perfect re-launching point to dive back into the world that this band has created. And for the longtime fans who have been along for the ride since the beginning, there’s so much to enjoy on this new record that should reinvigorate interest in the space rockers for the foreseeable future. The new record was co-produced by guitarist, lead vocalist and band leader Claudio Sanchez, as well as Zakk Cervini (Blink-182, Simple Plan, Bring Me The Horizon) whose contribution helps Coheed and Cambria find the perfect balance between their trademark sound, paired with vibrant pop elements. While making an effort to expand upon the universe created in The Amory Wars story arc, Coheed have simultaneously made their best album in quite some time that demands your immediate attention.

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Review: Linkin Park – Living Things

Adam Grundy

Living Things was the fifth studio album from rap-rockers Linkin Park and would find the band doing further experimentation with their sound, and would become their fourth straight record to debut at the top of the Billboard 200. The set was co-produced by Mike Shinoda and veteran Rick Rubin, whom had previously collaborated on Minutes to Midnight and their expansive A Thousand Suns records. In a lot of ways, this album is usually the one I reach for the most when I’m looking for a quick encapsulation of everything Linkin Park did in their storied discography in a singular record. For casual fans of Linkin Park, many state that Living Things is one of their favorites, if not the favorite in their collection, and it’s easy to see why so many would gravitate to the sound they went for here. It’s very accessible, doesn’t include any filler, and delivers more often than not in a rewarding and consistent listening experience.

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Review: The Used – The Used

Adam Grundy

I’m not quite sure when my fondness for a band called The Used started. I seem to remember hearing about a hyped band, from an article in Alternative Press, where producer and Goldfinger founder John Feldman was gushing over this band that he helped get signed to a major label. The Used were comprised of lead singer Bert McCracken, bassist Jeph Howard, drummer Branden Steineckert and guitarist Quinn Allman, and their incredible band chemistry was able to capture early and inescapable magic on their self-titled debut. The first track that I ever heard from The Used was “A Box Full of Sharp Objects” from a Warped Tour compilation, and it became increasingly evident to me that this band demanded to be taken seriously. The lead single from their debut LP was an abrasive, wall of sound effort that captured a punk rock spirit paired with screamo vocals that many other bands would emulate later in our scene. The Used would go on to sell over a million copies in the United States and cement the band’s legacy as one of the emo/punk scene’s primary front-runners.

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Review: Our Lady Peace – Gravity

Adam Grundy

The creative circumstances surrounding Our Lady Peace and their fifth studio album, Gravity, were tumultuous to say the least. Longtime guitarist Mike Turner was having creative differences with lead singer and band leader Raine Maida, and although he appears on nearly half of the songs on this record, Turner would eventually be replaced by Steve Mazur by the time the album was released. Maida was quoted in interviews by saying, “I don’t know if Mike was born to be a guitar player. The studio was a tough place for him and we were working too hard to make up for it – we felt like we were cheating ourselves. Four albums is way too fucking long to put up with that. I’m sure he’ll do great things, just not with six-stringed instruments.” Out of this conflict, however, would come some of the band’s best material since their landmark Clumsy record. Gravity was front-loaded with superb singles like “Somewhere Out There,” where the lyrics in the chorus inspired the record title, and crowd favorite, “Innocent.” By the time the promotional cycle had ended, Gravity would go on to sell over half a million copies in the U.S. alone.

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Review: Bartees Strange – Farm To Table

Adam Grundy

In this industry, you only get so many chances to make an impact on the music community and leave your legacy. After being at the tip of every tongue of concert promoters and music publications this past year, is it really any surprise that Bartees Strange would live up to the hype on his sophomore effort, Farm To Table? Coming off of ultra-successful touring stints with the likes of Phoebe Bridgers, Car Seat Headrest, Courtney Barnett, and Lucy Dacus, it became increasingly evident that he was ready for this moment. In fact, Bartees Strange called his own shot by making it his goal to be signed to the legendary indie label 4AD, and he would add that to his list of worthy accomplishments. He gave us a glimpse of his unique sound on his debut called Live Forever, but Farm To Table seems more fully realized, immediate, and artistically brilliant all over the record. Bartees Strange tackles worldly themes like the current political climate, relationships (both personally and professionally), and still leaves enough space to put his unique stamp on this period of time. The clear front-runner for album of the year has arrived, and it’s okay to be strange.

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Review: Twenty One Pilots – MTV Unplugged

Adam Grundy

At some point you just have to acknowledge true artists and musical geniuses for what they are. Twenty One Pilots have always been ones to break the mold of blurring genre lines by tinkering with emo, pop-punk, rap, and synth-based rock to make a sound that is ultimately unique to them. Their MTV Unplugged performance is another example of what Tyler Joseph and Josh Dun are capable of creating on the fly, as they invited the audience to participate in the creation of these songs. To quote Joseph on his closing line from the show, “We are Twenty One Pilots, and so are you.” By incorporating audience participation into the final recordings from the show, this statement has never been more accurate.

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Review: Out Of Service – The Ground Beneath Me

Adam Grundy

On the third full-length record from emo rockers Out of Service, they’ve clearly got a lot on their collective minds. The Ground Beneath Me takes on weighty topics like mortality, racial prejudice, and the loss of close relationships, yet it never gets too bogged down by the heaviness of the lyrical material. The set was produced and mixed by Nathan Hussey (All Get Out), who additionally lends his vocal talents to the track called “The Fall,” and was mastered by Emmy award winner Dave Marino. The album also features key guest vocal contributions from John Nolan (Straylight Run, Taking Back Sunday) and Emery, and it feels like Out of Service have earned these worthy collaborations through their steadfast dedication to perfecting their craft. Coming off of the worthy success of their sophomore effort Burden, and a teaser single called “Shelter,” Out of Service are becoming the best versions of themselves on The Ground Beneath Me.

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Review: Beautiful Machines – “Baum Baum”

Adam Grundy

The latest single from electronica band Beautiful Machines comes from their upcoming full-length record Singularity and is called “Baum Baum.” The word “baum” translates to tree and symbolizes finding new life/purpose in this crazy world we live in. The band mentioned, “During WWII, German military transmitted encoded messages with a device called an Enigma machine, which was said to have a code impossible to break. At the same time, the story of Babel explains the origins of the multiplicity of languages. Today, people live in these thought bubbles, finding digital tribes that support and reinforce whatever we think and believe, creating information silos. So, dialogue, in some sense, between people with differing opinions is becoming scarcer, which can ultimately lead to complete breakdown in communication, disinformation and programmed behavior – perhaps even war if we aren’t careful.” With a sound that strays somewhere between the heavy synths of NIN and the pop sensibilities of Tokio Hotel, Beautiful Machines could very well be your next favorite band in the electronica genre.

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Review: Eliza and The Delusionals – Now and Then

Adam Grundy

It is my utmost pleasure to introduce the world to Eliza and the Delusionals, the four-piece alternative rock band from Australia that fits well in the same vein as Beabadoobee, Soccer Mommy, and Wolf Alice. The band is comprised of Eliza Klatt (singer and sometimes guitar), Kurt Skuse (guitarist), Ashley “Tex” Martin (guitarist), and Ruby Lee (bassist). The band has previously released two EPs (most recently 2020’s A State of Living in an Objective Reality), but this latest record called Now and Then sets the clear path forward of where these musicians can take their sound next. The band mentioned that the record is a direct reflection of the world we’re living in currently, and the relatable struggles we all have with maintaining our mental health while dealing with COVID restrictions. The future looks incredibly bright for this talented band.

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Review: Japandroids – Celebration Rock

Craig Manning

Fireworks, drums that sound like bomb blasts, lightning bolts of electric guitar, and a rhetorical question: “Long lit up tonight and still drinking/Don’t we have anything to live for?”

So begins one of the greatest rock records of the 21st century. It’s also one of the most aptly named. Celebration Rock. Rarely has an album title ever doubled so effectively as a perfect description of what’s inside. In 2012, with their second LP, Canadian rockers Japandroids served up music perfect for…well, for celebrating to.

What were we celebrating, you may ask? Frankly, if you had Celebration Rock blasting out of a stereo back in 2012, it didn’t matter what you were celebrating, or whether you were celebrating at all. The songs made it feel like a celebration. They made any moment feel like a goddamn, out-of-hand, my-car-is-in-the-swimming-pool rager.

I’ll forever be thankful that I was the age I was when Celebration Rock landed on May 29, 2012. As a recently-minted 21-year-old, I was old enough to get into bars and legally consume alcohol. But I was also still a college student, still sharing an apartment with my college buddies, and still another year or so shy of when real-life responsibility would start to set in. In other words, I was old enough to celebrate the way the characters in Celebration Rock celebrate, and young enough to do it with all the reckless abandon of youth. Even thinking about some of the shit I did while playing these songs very loud on my apartment stereo makes my head hurt with the ghosts of shitty mixed drinks and dreadful hangovers.

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Review: The Cranberries – Stars: The Best of 1992-2002

Adam Grundy

The greatest thing about music is it’s ability to outlive us, for better or worse. The memories our favorite artists and bands leave behind in their recordings speak to the beauty behind the longevity of music, in general. Today, The Cranberries have reissued their Stars: The Best of 1992-2002 on a beautiful, double vinyl set that speaks directly to the legacy this band has left behind. Presented in chronological order from the band’s singles from 1992-2002, some of the greatest alternative rock songs of my generation like “Dreams,” “Linger,” and “Zombie” front-load this set of songs that sound as refreshing as the first time I heard them. The collection also includes two previously unreleased tracks in “New New York” and “Stars” that bookend this chapter of the band’s rich history.

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Review: Cal Stamp – NYLON

Adam Grundy

The debut EP from multi-instrumentalist Cal Stamp (Spirit Animal, Record Heat) finds him brilliantly stepping into his own sound while giving subtle nods to the great music that he’s inspired by. The tracks that make up the initial batch of songs found on NYLON come from a larger sample of music from Cal Stamp’s planned trio of EPs. Stamp described the direction of the material by stating, “All these songs could easily coexist on the same record. They’re essentially my take on 1980s guitar pop, but within that you’ve got the more synth-driven yacht rock of NYLON, the sun-soaked SoCal jangle of DENIM, and the straight-ahead rock ’n’ roll of LEATHER – each representing a different strand of my own musical DNA.” With a breezy, 80’s new wave sound paired with breathy vocals and excellent production, Cal Stamp is setting off on the right foot.

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Review: Be Well – Hello Sun

Adam Grundy

A lot of times when you’re going through tough times, experiencing anxiety, or battling a stint of depression, it can feel like the fight is done mostly on your own. That weight can bog you down pretty badly until it’s all you feel. In a lot of ways it’s like breathing: you don’t need to think about it until you can’t find air, and then it’s all you can think about. Brian McTernan and his bandmates honed in on these feelings deeply on the band’s debut, The Weight and The Cost, and as McTernan describes, “I was caught in the center of a storm. I really couldn’t see anything except the destruction, and I had no perspective on what was happening.” On Be Well’s latest EP, the lyrical material pave the way for coming out of the toughest times fairly unscathed, or at the very least being able to see through the heavy fog that surrounded them before. On the opener, McTernan describes this feeling through a series of self-reflection, or as he explains, “On ‘Treadless,’ it’s me finally being able to question myself, like, ‘How did I let it get this far? How did I live my whole life hiding something that was so integral to whom I am from the people who love me the most?’” No longer being bogged down by the weight of the world on their shoulders, Be Well have every right to say Hello Sun to the better days that lay ahead of them.

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