Review: A Place to Bury Strangers – See Through You

Mary Varvaris Feb 9, 2022

See Through You is relentless. Depending on your preference for in-your-face noise rock and post-punk, the sixth album from A Place to Bury Strangers – their first in four years and the follow up to last year’s excellent Hologram EP – won’t necessarily tick all the boxes for all listeners. For me, the record lives in an atmosphere beyond our tiny, insular worlds. The New York-based trio now comprises long-time vocalist and guitarist Oliver Ackermann and Ceremony (also known as Ceremony East Coast) veterans Sarah Fedowitz on drums and John Fedowitz back again after a stint with the band in 2016 on bass. See Through You is also the first A Place to Bury Strangers album on Ackermann’s brand-new record label, Dedstrange.

Since founding the band in 2003, Ackermann has produced, mixed, and mastered all its albums; their latest is no exception. How do an independent label and 20 years in music affect a band’s sound? Well, in the case of A Place to Bury Strangers, that experience and freedom have resulted in the catchiest, well-rounded album the group has offered so far. The Washington Post dubbed A Place to Bury Strangers as “the most ear-shatteringly loud garage/shoegaze band you’ll ever hear” in 2012, and while that referred to their live show, their recorded output is bloody loud, too.

Adam Grundy Feb 7, 2022

The sophomore effort from Wild Rivers is called Sidelines and plays out like a coming-of-age story of learning about the key parts of the relationships we make along the way. The record was co-produced by the band and Peter Katis (The National, Interpol), and Wild Rivers appear to be get their footing pretty well in their songwriting craft. Led by the lead single, “Long Time,” a dreamy piano-laced duet that puts the pain of a break-up in the direct cross-hairs of the material, and yet the band continues to march forward in the hopes of better days ahead. This ten-song album plays out majestically as it captures the spirit of three musicians knowing their strengths, and still packs plenty of emotion throughout each of the tracks.

Adam Grundy Feb 3, 2022

On the sophomore album from pop-rocker Kulick called Everyone I Know Will Die, he expands upon the thematic elements found on his debut and cranks the volume up to ten. As much as I enjoyed Yelling in a Quiet Neighborhood, Kulick really improves upon the best parts of his sound on this current record. The songs are immediately gripping, honest, direct, and driven by a beating heart that just wants his fans to come along for the thrilling ride. Kulick shared this connection he has with his fanbase as he mentioned, “The reason I create music has always been the same; to process, to better understand myself, to feel my emotions in a healthy way, and to connect with others. There is nothing greater.” By staying true to himself and improving his songwriting craft, Everyone I Know Will Die remains steadfast in its dedication to music lovers everywhere.

Adam Grundy Feb 1, 2022

The fourth studio album from indie rockers Bad Suns was conceived as “the soundtrack to a movie that doesn’t exist yet,” according to the band’s frontman Christo Bowman. This approach to their songwriting on Apocalypse Whenever makes more sense after a few spins of the record that sounds crisp, pop-driven, and vibrant, thanks in large part to veteran producer Eric Palmquist (Thrice, Mutemath). Bowman also shared, “We also knew we wanted the album to have a through-line, a story from beginning to end,” and the “movie soundtrack” feel can be understood better throughout the complex weave of lyrical lines painted throughout the LP. The album plays out like an 80’s synth-laden dreamscape that has lofty goals from the outset, and hits its intended target more often than not as it pulls on the heartstrings of this golden era of pop music.

Apocalypse Whenever’s promotional rollout was different than the band’s approach to their last three albums, with six singles (nearly half of the album) being released prior to the record hitting the streets this past Friday. It’s definitely a different way to digest a record that is intended to be listened from front to back, in order to get the full “story” outlined by the California-based band. In between Mystic Truth and Apocalypse Whenever, the band released two singles (“Unstable” and “I’m Not Having Any Fun”) that didn’t make the cut of Mystic Truth, and ironically those tracks sound better suited for the direction on this current album cycle.

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Review: Unwritten Law – Elva

Adam Grundy Jan 31, 2022

The fourth studio album from the San Diego-based band, Unwritten Law, brought the group of ton of success in the early part of the 00’s era of pop-punk, and deservedly so. Elva is filled with crisp pop-rock gems including “Up All Night,” “Rescue Me,” “Sound Siren,” and their first chart-topping Modern Rock hit in “Seein’ Red.” Unwritten Law fought through the crowded scene of pop-rockers making a name for themselves like Sum 41, Good Charlotte, and Mest to improve upon their songwriting craft and deliver their most successful album to date in Elva. Produced by John Shanks, Miguel, Josh Abraham, and the band, this remains one of those records I look back fondly upon as it celebrates its 20 year mark. Led by the dynamic and energetic vocals of band leader, Scott Russo, Unwritten Law were starting to really make their mark in the music scene by the end of this album cycle.

Adam Grundy Jan 25, 2022

Recently I was able to get word of a new EP that was getting significant buzz in both the band’s hometown in Ontario, as well as a thriving following in the states. Last December’s Changes by Texas King is a brilliant mix of 90’s roots rock in the same realm as The Black Crowes, the pop sensibilities of Hootie & The Blowfish, with the modern polish of The Fray. Lead vocalist Jordan Macdonald truly shines on songs like “You,” “Strange Life,” and the album opener “Not Myself.” If you’ve been looking for a new band that reminds you of the 90’s Alt Rock scene with a steady heart towards the future, look no further than Texas King.

The record opens with a nice guitar groove found on “Not Myself,” and one of the first things that captivated my attention was Macdonald’s crisp vocal delivery. The band really rallies around each of his heartfelt lyrics, and they never overpower the direction of the vocals. The title track follows with a more up-tempo approach, but never loses its footing with the direction of the storytelling found in Texas King’s music. This song in particular focuses on the feeling of noticing that changes need to be made in your life, even if you have to hit rock bottom before picking up the pieces to put yourself back together.

Adam Grundy Jan 24, 2022

1997 was a huge year for the Alternative Rock genre, and music fans in general, due to the vast number of great releases coming out. Since I missed the opportunity to write about Clumsy by Our Lady Peace at the 20 year mark, I figured it was about time to revisit this Alt Rock classic for its 25th Anniversary. Sure, everyone knows the major hits on this record like “Superman’s Dead,” “Automatic Flowers,” “4 AM,” and the slow-building title track, but the depth that Mike Turner, Jeremy Taggart, and lead vocalist Raine Maida went to into crafting the songs that surround these huge singles speaks to Our Lady Peace’s ability to live on in Alt Rock-lore. Many people don’t realize that Clumsy was the sophomore album from Our Lady Peace, with their debut coming in the form of Naveed. The music landscape had changed significantly since their debut released in the United States in 1995, and it was only a matter of time before this talented Canadian band would strike the right chord of the heartstrings of music listeners everywhere. Clumsy was produced by Arnold Lanni, who also gets writing credits on the album, and he does a great job in getting the best performances out of these young rockers to create a legendary, Alternative staple.

Adam Grundy Jan 21, 2022

After releasing their debut in 2018, Consecutive Normal Songs, the Northeast Louisiana emo rock band Inside Voices have returned with their latest offering of new music on the EP titled Liminal Space. The four-piece band would be perfect for fans of the stylings of other emo bands like Title Fight, The Wonder Years, and especially American Football. By showcasing their growth on this collection of six well thought out songs, Inside Voices appear poised for the next big step in their musical evolution.

Adam Grundy Jan 17, 2022

Coming off their perplexing third studio album, the aptly titled III, The Lumineers have returned with a more radio-ready sound on Brightside. On this record that feels almost like an EP, since it clocks in at just over 30 minutes over a nine-track span, the indie folk rockers relocate some of that early magic they captured on their debut record and Cleopatra, as well. This set of songs was recorded in Sun Mountain Studios by producer David Baron, with some additional producer credits by Simone Felice. What the band does best on Brightside is coming to terms with who they are as musicians and songwriters for one of their most accessible albums to date. Led by the trio of singles including the title track, “A.M. Radio,” and “Big Shot,” The Lumineers feel like they’re ready to take the next steps forward.

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Review: The Weeknd – Dawn FM

Adam Grundy Jan 11, 2022

Fresh off a well-received fourth album in After Hours, paired with a brilliant performance at last year’s Super Bowl halftime show, The Weeknd has returned with his next thrilling opus called Dawn FM. The set of 16 songs, interspersed with dialogue and various interludes, plays out like a futuristic radio show meant for the dance floor. The album features a litany of producers, that includes The Weeknd, Max Martin, and Calvin Harris among many others, yet this record never strays from its utmost purpose of being a beacon of light towards its theme of being a metaphor for purgatory. In a recent interview with Billboard, The Weeknd expanded on this concept by explaining, “Picture the album being like the listener is dead. And they’re stuck in this purgatory state, which I always imagined would be like being stuck in traffic waiting to reach the light at the end of the tunnel. And while you’re stuck in traffic, they got a radio station playing in the car, with a radio host guiding you to the light and helping you transition to the other side. So it could feel celebratory, could feel bleak, however, you want to make it feel, but that’s what ‘The Dawn’ is for me.” The styles of new wave, to dance pop, all the way to funk and EDM thrown into the mix, make for an ultra-refreshing listening experience. The first major release of 2022 has arrived in a big way.

Adam Grundy Dec 23, 2021

You have to love a band that maps out their content just perfectly. On the first day of the winter solstice, Sarah and the Safe Word have returned once again with an expansive and heavy single called “Solstice.” From the opening lines of, “A little crow, he came to me / And asked what to do with the snow / We tried and tried to sweep it clean, but the cold / It continued to blow,” the band immediately transports the listener to the world created by them, and it matches the cover art nicely. It also ends up being one of the longer songs in Sarah and the Safe Word’s discography, and yet it makes for a thrilling listen for every single beat.

Adam Grundy Dec 20, 2021

Just when you thought all the great releases were done for the year, Nathan Gray (of BoySetsFire) is back with a great-sounding collection of punk rock tracks ready for your ears. Nathan Gray and The Iron Roses have released Rebel Songs today, and it features some pulsating songs filled with marksmanship passion and poise. The title track features Rise Against’s Tim McIlrath, and there really is so much great material to be found on Rebel Songs. When asked about the direction he went with on this record, Gray mentioned, “Well for one, it is wildly more vulnerable and nerve wracking to sing these lyrics as opposed to screaming them. There’s no place to hide the words. It’s no longer range induced. It is a very exposed feeling, but it is exactly what I needed, and what my music needed – to be stripped back down to its core, and put a focus on the message itself. In my own journey through healing, I started to understand that no one can influence change in the world without turning that inward to heal themselves first. As such, what we do in our own lives influences our political leanings and world view.” His improved songwriting pays major dividends as Gray has released yet another career-defining album in his discography.

Adam Grundy Dec 10, 2021

I’d like to introduce you to a great pop, rock and rap-based band out of L.A. called Tempoh Slow. The band, who reminds me the emo-tinged rap/rock of Twenty One Pilots and the atmospheric feel of The Neighbourhood, are onto some great things on “Villains In Love.” The performance-based music video features vocals from LUNA AURA, and the band rallies around the catchy chorus to make for a memorable single.

Adam Grundy Nov 29, 2021

The changing of lead vocalists almost never works for a band. Lucky for us, Zebrahead are all too familiar with shuffling this key cog in the band machine, and sound as re-energized as ever with their third lead vocalist, Adrian Estrella (formerly of Assuming We Survive), who has this beloved band back on the right track. When I last chatted with Adrian and Ali, you could tell that they were sitting on a great collection of music that they have since aptly branded III to mark the third chapter in their storied history. With such a refreshing take on their sound, it’s no wonder why it’s easy to get excited for what the future holds for Zebrahead.

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Review: Hoobastank – Hoobastank

Adam Grundy Nov 25, 2021

In a music landscape filled with some odd band names, Hoobastank may have taken the prize for strangest moniker. On their self-titled major label debut, the band came roaring out of the gate with a strong debut single in “Crawling in the Dark” that rose as high as the top three on Billboard’s Modern Rock chart. One thing that many people don’t know about the band is that this record is actually their second full-length record with the independently released They Sure Don’t Make Basketball Shorts Like They Used To, that featured a horn section and not too much material within the same realm as Hoobastank. I discovered this band in a similar way as others, by seeing their first music video on MTV2 and then promptly buying my first concert ticket to see them at the 9:30 Club. Their live show was filled with pulse-pounding drums (courtesy of Chris Hesse), the brilliant riffing from guitarist Dan Estrin, and anthemic vocals from Doug Robb. During this concert, they played two tracks from their independent debut, “Earthsick” and the song closest to the sound they would go for on their Island Records’ debut on “Stuck Without a Voice.” This concert made me a life-long fan of the band, and they would go on to achieve remarkable success on their subsequent record called The Reason, where the title track made them a household name. This meteoric rise made the radio ready rock band Hoobastank something that ironically everyone would know exactly what you’re talking about.

Review: A Place to Bury Strangers – See Through You

Review: Wild Rivers – Sidelines

Review: Kulick – Everyone I Know Will Die

Review: Bad Suns – Apocalypse Whenever

Review: Unwritten Law – Elva

Review: Texas King – Changes

Review: Our Lady Peace – Clumsy

Review: Inside Voices – Liminal Space

Review: The Lumineers – Brightside

Review: The Weeknd – Dawn FM

Review: Sarah and the Safe Word – “Solstice”

Review: Nathan Gray – Rebel Songs

Review: Tempoh Slow – “Villains In Love”

Review: Zebrahead – III

Review: Hoobastank – Hoobastank