Review: Holy Pinto – “Death Is In The Air”

The latest single from Aymen Saleh, better known as Holy Pinto, is bursting with raw emotion and painstaking detail in the songwriting process. Bartees Strange also contributes on “Death Is In The Air” by adding some well-placed guitars and synths to the mix. The track itself tackles the theme of searching for love, complete with all of the messy details that make this emotion so complex.

The song builds momentum as it sways from the cautious opening verse, to adding in more instruments in the chorus, while Saleh’s vocals remain consistently captivating in his delivery. The single takes the listener on an epic journey of lyrical twists and turns, all with a beating heart towards Holy Pinto’s self-discovery as an artist. The epic conclusion of the song features some well-placed hand claps and an Americana sound to keep interest high in this ultra-talented songwriter. Holy Pinto is back, and he is quickly re-cementing himself as a key artist to watch.

Review: Real Friends – Blue Hour

Real Friends - Blue Hour

”Here’s to new beginnings” is a popular toast at weddings, job promotion celebrations, and retirements, and yet most bands don’t get the opportunity to experience this feeling themselves when it comes to reinvention. Real Friends are back with a slick emo-tinged pop-punk sound on Blue Hour, their fourth full-length studio effort to date, and their first LP with vocalist Cody Muraro at the helm. The 13-song album is packed with raw emotion, songs about relationships, and in many cases the theme of starting anew is prevalent. The band, whom have been around since 2010, seem to lock into a new groove on Blue Hour with a sound leaning closer to The Wonder Years and The Menzingers, rather than pop-punk bands like The Starting Line and New Found Glory. Real Friends are making the most of their opportunity to reinvent themselves on this record that is filled with depth, rich lyrical imagery, and hard-hitting tracks that demand to be taken seriously.

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Review: Jimmy Eat World – Futures

Jimmy Eat World - Futures

It’s a sliding doors moment, the first time you hear a song that stops your heart. If you really think about it, any number of songs, at any number of moments in time, could be the one to change your life. For whatever reason, though, every music fan ends up with one: one song that, under the right mix of timing, circumstance, emotional clarity, and dumb luck, clicks onto your frequency and blows your whole fucking life apart. There will be other songs, after that one – many, many songs, if you’re lucky. But that one song – and that one band, and that one album – will always have a special place in your heart for what it did to kickstart something new inside of you.

I still remember the week that I heard Jimmy Eat World’s “Kill” for the first time. It was a rainy, gloomy October in northern Michigan, and I was an eighth-grade student slowly finding his way toward a deepening interest in music. In the preceding year, I’d even started finding songs that scratched some deep emotional itch in me – even if my not-so-evolved 13-year-old self couldn’t have expressed what it was about Snow Patrol’s “Run” or Nada Surf’s “Inside of Love” or Dashboard Confessional’s “Vindicated” that was making him ache. In other words, I liked music a whole lot, but I hadn’t yet opened myself up to the idea that it could take everything I was feeling deep down inside and set it to words and soundwaves.

The first time I heard “Kill” was on an episode of One Tree Hill, a not-so-well-written teenage soap that, at the time, was in its second season. Right away, I knew the song was special. It was one of those “stop what you’re doing, pay close attention and write down the lyrics so you can Google this later” kind of songs. (We didn’t have Shazam back then.) I just didn’t know how special it would prove to be.

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Review: Various Artists – Red Scare Industries: 20 Years of Dreaming and Scheming

Starting a record label isn’t for the faint of heart. So much can go wrong, really fast, if you’re not equipped with the right people around you to make it thrive. Luckily, Red Scare Industries isn’t in this category of failing labels, as they are now celebrating 20 Years of Dreaming and Scheming, the cool new compilation that features key artists like The Menzingers, Laura Jane Grace, Sludgeworth, Heart & Lung, No Trigger, and so many more great bands on this 17-track disc. Red Scare Industries has reliably introduced fans near and far to bands that they feel are worth their time, put on killer live shows, and have the musical chops to make you want to reach for that repeat button. While some various artists compilations are good for a spin or two to discover a new band every now and then, this particular collection of songs feels like a punk rock party that is sure to make you wonder just how Red Scare was able to pull this off.

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Review: Yellowcard – Lift a Sail

Yellowcard - Lift a Sail

In the Yellowcard discography, Lift a Sail is the oddity. It’s not a pop-punk album, for one thing – not really even close. There are arena rock songs on this record, and songs inspired by ‘90s alt-rock, and songs with a whole lot of electronic flourishes, and songs that are experimental and minimalist. There are arguably zero songs that sound like the Yellowcard of old: the band with big, bright choruses, and lyrics about summertime, and triumphant electric violin solos, and rapidfire, double-time drums. And speaking of those drums, this record marks Yellowcard’s first without drummer Longineu “LP” Parsons III, whose technical acumen behind the kit was always a strong selling point for many listeners.

For all these reasons and more, Lift a Sail was a tough pill to swallow for a lot of Yellowcard fans when it arrived 10 years ago. I remember the AbsolutePunk.net forums in the days after the album came out, and the divide in the Yellowcard threads about whether it lived up to their legacy. Plenty of fans loved it, and found the departures the band made from their signature sound to be refreshing and invigorating. But another segment of listeners – if we’re being honest, a larger segment – was baffled by what they were hearing. The phrase “sell out” was definitely bandied about, as if no pop-punk band worth its salt could try on electropop flourishes without going artistically bankrupt. A lot of fans missed the pop-punk, missed the summertime vibes, missed the big choruses and the bigger drums. I definitely remember a few users saying that, if LP wasn’t going to be a part of the band’s universe anymore, then they didn’t want to be, either.

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Review: October Man – “Dandelion”

October Man - "Dandelion"

I’d like to introduce everyone to a cool new indie rock band called October Man. The band features Ethan Bodner (guitar), JD Leidersdorff (guitar/vocals), Ian Neill (bass), Anthony Abboud (keys/drums), and Joey Murphy (keys/drums). Most of the band has been playing together for nearly a decade, with Neill being a recent addition. Their latest single, called “Dandelion” is a catchy blast of indie rock that would be perfect for fans of The Strokes, Cold War Kids, and the guitar groove of Franz Ferdinand.

The song opens up with a steady beat courtesy of Anthony Abboud while the dual-guitar attack embraces the groove of the track with a poise not usually seen in a band this young. Vocalist JD Leidersdoff has a great croon throughout the song and he remains as captivating as possible. October Man have created the perfect launch pad to success in the indie rock genre with this song that is sure to be added to many playlists for the foreseeable future.

Review: Hippo Campus – Flood

Over the course of music history there have been several cases of a band not being happy with the material they are creating, and then in turn deciding to scrap that material in favor of a different direction. This exact situation happened to Hippo Campus. The band were sitting in the green room of a sold-out amphitheater show at the start of the Summer of 2023 when they realized their fourth LP simply wasn’t good enough. This realization led to them re-thinking their approach to what would be the sessions for Flood, their latest studio effort that comes pouring through the speakers with the most polished, professional, and ultimately most complete version of the band to date. Hippo Campus had reportedly penned over 100 songs during the five-year span between LP3 and Flood, with only the best material making the cut for the 13-track fourth studio album. What we’re left with is a completely realized vision for the band’s music that shimmers as much as it makes their audience think about what they’ve listened to. Flood is an appropriate title in that it took a complete brainstorm of ideas all at once to see what stuck and the aftermath is a brilliant collection of songs that play off of each other in a cohesive work of art.

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Review: Alice In Chains – Black Gives Way To Blue

Black Gives Way To Blue proved that grunge was still alive and well in 2009. Alice In Chains decided to reboot themselves after the tragic death of original lead singer Layne Staley (in 2002) by beginning to play shows again in 2005 and start crafting what would be the material found on the band’s fourth studio album. Now getting the 15th anniversary vinyl re-press treatment via Craft Recordings, Black Gives Way To Blue gets another fresh makeover as audiences new and old can rediscover what made this band so legendary. The record was the first one to feature co-vocalist/guitarist William DuVall and he does a nice job of complementing the lead vocals from founding member Jerry Cantrell. The set would spawn four singles, with two of them earning Grammy nominations for Best Hard Rock Performance. Picking up the pieces after losing a band member is sadly all-too-common in the music industry, but Alice In Chains were able to honor the legacy of Staley in this vivid collection of songs that still highlight their staying power to this day.

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Review: Sophia Dashing ft. Manda Malina – “Raindrops (On Your Pillow)”

The latest single from Sophia Dashing featuring Manda Malina, called “Raindrops (On Your Pillow),” has that classic 90’s pop sound that is reminiscent of Destiny’s Child paired with TLC. The track was produced by Jason Quinones and co-written between Malina, Dashing and Quinones. The collaboration pulls off as each artist/writer shines on the track that is built for those heartfelt evenings of longing for a better relationship.

Sophia Dashing commands the song throughout her dynamic vocal performance while Manda Malina adds in some great vocal takes of her own. The song reminded me a bit of the style of TLC’s “No Scrubs” and hits its intended target more often than not. The final bars of music highlights the two vocalists trying to outshine each other through some great vocal highs that mesh well together for a crowd-pleasing pop single.

Review: Neon Trees – Sink Your Teeth

Consistency is hard to come by in the music industry. Times change, sounds change, and stylistic choices over time can evolve into something completely different than what was popular a decade ago. The great thing about music, however, is that if you can write good songs you can find sustainable success in the music business, regardless of genre. Neon Trees have been one of the most consistent pop rock bands since they debuted in 2010 with Habits, and found early success in singles like “Animal” and the karaoke favorite of “Everybody Talks.” Having now released their fifth studio album, called Sink Your Teeth, Neon Trees’ sound still feels as refreshing as ever as they return to the music scene. The band released the first taste of the new record back in June of 2023 with lead single “Favorite Daze.” As great as Neon Trees are at writing a catchy chorus, this particular single features some of the best verses of their career to date. The rest of the material that surrounds the track feels like a sonic evolution of the band that continues to showcase their staying power in the pop rock scene.

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Review: Green Day – American Idiot

Green Day - American Idiot

When was the last time it felt like a rock album took over the whole damn world?

For the most part, rock music has not been the defining music of the past two decades. There were exceptions along the way: The Suburbs winning the Grammy for Album of the Year felt like a coronation moment for indie rock. In Rainbows started a conversation around music commerce and distribution that helped shaped the industry we’re living in now…for better and for worse. Albums like Viva La Vida and Stadium Arcadium kept rock on mainstream pop radio and seemed legitimately inescapable for months and months.

But none of those albums hit every marker of a true-blue, world-conquering, era-defining blockbuster – the type of album rock ‘n’ roll used to serve up regularly, before hip-hop and R&B and big-tent pop took its crown. No rock album has checked all those boxes since 20 years ago this weekend. Since American Idiot.

Before this album even came out, it felt seismic – and “seismic” probably wasn’t what anyone was expecting from Green Day at the time. The band had followed a path of diminishing returns (commercially, at least) ever since they’d set the world on fire 10 years previous with Dookie. That album was a bedrock pop-punk classic, an album that laid the groundwork for a sound that became the go-to music in every teenager’s bedroom during the late ‘90s and early 2000s. But Green Day themselves weren’t really part of that turn-of-the-century dominance. While bands like Blink-182 and The Offspring were carving out household name status for themselves, Green Day were making increasingly commercially unviable records, like 1997’s all-over-the-place Nimrod, or 2000’s underrated folk-meets-pop-punk gem Warning. Depending on who you ask, the Green Day that existed at the outset of 2004 were already has-beens, coasting on past glories. They already had a greatest hits album out, after all, and arguably their most enduring song was an acoustic tearjerker that you couldn’t get through any graduation ceremony without hearing at least once. While other bands were carrying the torch Green Day had lit, the Berkeley punks were somehow already elder statesmen. It felt like their chapter of the story was over.

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Review: Smallpools – Ghost Town Road

There comes a time in all band’s musical trajectory when they realize when things were lacking a bit of the magic they found early on in their career. That feeling of being “locked in” when the band is firing on all creative cylinders can provide the spark they need to carry on. Smallpools found early success with their debut self-titled EP that had a legendary single called “Dreaming” that was as infectious as it was refreshing. “I feel like our debut EP was a definitive body of work…we were dialed in,” vocalist Sean Scanlon muses. “With this project <Ghost Town Road>, we’re dialed back in.” Guitarist Michael Kamerman views it less like a sequel and more like a franchise reboot as he mentioned, “The other music exists and you’re free to revisit it. But we’re back and we mean it.” Ghost Town Road was preceded by an EP <Ghost Town Road (East)> and while the original songs that were released from the EP are still here, and remain strong material, the other tracks that round out the vision that Smallpools were going for define a band completely locked in creatively. The band appear re-energized and poised for the next big leap in their musical career.

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Review: Taylor Acorn – Survival In Motion

Every now and then in our lives we will discover an artist that checks all of the boxes of our music interests. This happened to me this past Friday when I hit play on Survival In Motion, the debut album from Taylor Acorn. The powerhouse vocals, crisp songwriting, and the overall feeling of good vibes coming through the speakers washed over me from the opening notes all the way to the dramatic conclusion of the album. Taylor Acorn shared, “I feel like I’ve been waiting a lifetime to be able to say ‘I’m putting out a debut album’, but in all honesty I’m so glad I waited for as long as I have, I feel like I’ve finally found my sound — I’ve fallen in love with every single song in it’s own right, the writing process was truly something I’ll never forget — and to top it off I got to share the experience with my best friends and some of the most amazing and talented people I know. I’m not sure what will come next, but this chapter is something that I am so unbelievably proud of and I can’t wait to share it with everyone. I hope you love it and I hope you find peace in knowing that no matter what we go through, we are all walking representation of survival in motion and life is a gift no matter how crazy it can be.” Taylor Acorn has a voice that fits somewhere between the emotive vocals of Hayley Williams, the range of Kelly Clarkson, and the punk brashness of Charlotte Sands, while her warm delivery still feels refreshing and new.

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Review: Senses Fail – Let It Enfold You

Senses Fail - Let it Enfold You

I’m sure many of us have a memory or two surrounding Let It Enfold You, the debut full-length record from the emo band Senses Fail. The memories we tie to music releases can get a little hazy over time, much less after 20 years. My best recollection of the release of Let It Enfold You was a combination of confusion, a whole lot of scene hype, and plenty of coverage in Alternative Press magazine. The confusion came in the form of Let It Enfold You being in record label limbo for quite some time, after Geffen Records (whom had absorbed Drive-Thru) lost interest in putting out the album, and Senses Fail deciding to leak the record after the trouble of finding a home for it. Vagrant Records eventually stepped up to the plate, and the hype behind this emo band steamrolled them to selling over 600,000 copies in the U.S. The album was frequently in the “Reader’s List” of top trending albums on Alt Press, while the band still was getting mixed reviews from most outlets unsure of where to best place the music that Senses Fail had created here. Let It Enfold You achieved commercial success, mostly by word of mouth, as Vagrant would only officially release two singles from the set in “Buried A Lie” and “Rum Is For Drinking, Not For Burning.” Senses Fail would cement their status as screamo heavyweights on their subsequent releases and showcase their staying power in the genre.

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Review: Atreyu – The Curse

The sophomore album from metalcore band, Atreyu, took advantage of the momentum the band built on their debut (Suicide Notes and Butterfly Kisses), and saw them adding in more melodic elements to connect with larger audiences. The Curse was produced by veteran producer GGGarth (Red Hot Chili Peppers, Rage Against the Machine) and the set would go on to achieve RIAA Gold status with over 500,000 copies sold in the U.S. With a rockin’ trio of singles released during the promotion cycle that included “Right Side of the Bed,” “Bleeding Mascara,” and “The Crimson,” Atreyu were gaining fans at a speedy rate, and were able to back up the music found on the record effortlessly live. Now celebrating its 20th anniversary with a slew of vinyl re-presses via Craft Recordings, The Curse deserves another moment of reflection.

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