Review
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Review: Gorillaz – Cracker Island

Adam Grundy

The eighth studio album from the animated band known as Gorillaz is a pretty thrilling return to form. While their previous effort known as Song Machine: Season One was bit of a bloated collection that hit as often as it missed, Cracker Island wears its influences proudly across multiple genres, and might be their most cohesive album to date. At ten tracks and a running time of under 38 minutes, you can put Cracker Island on when you need a reprieve from the noise of the outside world. The set was produced by Greg Kurstin (Beck, Foo Fighters) at his own studio in Los Angeles, California, and he does a great job in honing in on this band’s strengths. Mainly from the mind of permanent collaborator/lead singer, Damon Albarn, Gorillaz find a nice groove within these Latin-infused beats and crisp production to engulf the listener into a world of pure imagination.

Kicking things off with the title track, a trippy, synth-driven song clouded in mystery about the world you’re about to embark unto, Gorillaz capture the spirit of their early, bulletproof work into a solid re-introduction. The opening lyrics of, “On Cracker Island, it was born / To the collective of the dawn / They were planting seeds at night / To grow a made-up paradise / Where the truth was auto-tuned (Forever cult) / And its sadness I consumed (Forever cult) / Into my formats every day (Forever cult),” are paired with complex beats in the background to keep things interesting from the get-go. “Oil” features a nice cameo by Stevie Nicks, and has a great, pulsating bass line to set the stage for Albarn’s vocal croon. It’s a very 80’s, new wave type of song that takes me back to the days of the Walkman and bright clothing choices. Nicks’ contribution is small, but necessary, as she adds just the right type of mystique to the song.

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Review: The Movielife – Forty Hour Train Back To Penn

Adam Grundy

Like many people who grew up in the height of the Drive-Thru Records era, discovering new up and coming bands was a bit of a tricky science. For me personally, I found many new artists through punk rock CD compilations, surfing the web on AbsolutePunk, getting to a concert early to check out the openers, or by skimming through the pages of Alternative Press. So how did a band like The Movielife make it so easy to enjoy their music? The Movielife were a punk rock band in spirit, but their ability to mix in hardcore elements and make their concerts an experience made me a lifelong fan. Early songs like “Hand Grenade” and “Walking On Glass” were my first introduction to the band, and it made me backtrack through their earlier catalog to grab as much music as I could get my hands on.

The third full-length studio album from The Movielife felt like a momentous opportunity for them to stand out from the pack of Drive-Thru bands that began dominating the greater part of the decade. Forty Hour Train Back To Penn was recorded at Salad Days Studio with veteran producer Brian McTernan, and his fingerprints are all over this punk classic. The band released two singles from the set, “Jamestown” and “Face or Kneecaps,” however during the promotional cycle of the record, The Movielife decided to call it quits. This kind of derailed the intentions of Drive-Thru Records doing a bigger push for the LP, but the legacy that this band left behind is still felt today. The majority of the songs written on this record were by lead vocalist Vinnie Caruana and guitarist Brandon Reilly, and they would end up being the last ones standing when The Movielife released Cities in Search of a Heart 14 years later. Forty Hour Train Back To Penn tackles many situations head-on like fractured relationships, traveling on the road, and growing up, while still having an emotional element to each track to showcase the band’s collective growth as people and musicians.

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Review: Paramore – This Is Why

Adam Grundy

What do you do when the world around you gets a little strange? Paramore seem to embrace the weird on This Is Why, their quirky sixth studio album that largely relies on post-punk chord progressions, Bloc Party influences worn proudly on their sleeves, all mixed in a blender on the highest speed to see what concoction comes out in the end. In the interviews leading up to the release of this record, the band seemed to be getting more comfortable in their collective skin. They mentioned that the songs they were crafting for the follow up to After Laughter were more “guitar-driven” and the band found themselves “listening to a lot of older music” that inspired them to make a career in music in the first place. Whereas After Laughter was originally seen as fairly dramatic departure from the punk-tinged sound the band had cut their teeth to early on, the same could easily be said about this next dramatic leap of faith on This Is Why. Paramore has always been a band that has challenged the artistic norms of what is expected of them, and have grown accustomed to their audience wanting a certain “version” of themselves. In what may be their most polarizing record to date, Paramore continue to push the envelope of creativity in dramatic ways, and find their band going through yet another reinvention. The metamorphosis of this trio may just be complete.

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Review: Babyfang – In The Face Of

Adam Grundy

There’s something amazing that happens when a group of musicians come together, with a like-minded approach to their sound, and deliver music that sounds completely different than anything else currently out there. Babyfang are here with their debut EP, called In The Face Of, that re-captures youthful exuberance paired with lyrics brimming with substance about making real change in this world. The band is Théo Mode (guitarist), Canteen Killa (drummer) and 13th Law (bassist), with all of the members being instrumentalists, producers, singers, and songwriters. Packed with talent, the band falls somewhere between the unpredictability of The Mars Volta, the pop-sensibilities of Radiohead, and the rock and roll spirit of The Rolling Stones. In the band’s own words, “The music is a response to / an expression of all that we’ve felt in the face of everything that has been / is happening right now; a lot of rage and joy and hope and sadness and gratefulness of just being able to make this music at all.” Babyfang might just be the most important band to storm onto the scene in years.

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Review: Zebrahead – II

Adam Grundy

The latest EP from Zebrahead comes at an important crossroads in their history. II is the second release from the band since adding the new vocalist/guitarist Adrian Estrella, and finds Zebrahead tinkering with their sound in order to discover what works best for them for the foreseeable future. Their last record, entitled III, was a thrilling reinvention of their dynamic sound that left the realm of possibilities wide open for where this artist could travel to next. Much like a storm coming out to sea at the wrong time, this ship occasionally steers off course, when they could’ve simplified the process of crafting these songs. The band covers a little bit of new ground by adding more metal riffs in one song, and attempts a ska/punk track on the EP that goes a bunch of directions, but never in a straight path.

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Review: BANNERS – I Wish I Was Flawless, I’m Not

Adam Grundy

For those unfamiliar with the artist known as BANNERS, it is the solo project of the talented, and award-winning singer-songwriter, Michael Nelson. On his latest EP, entitled I Wish I Was Flawless, I’m Not, BANNERS firmly cement their status as a big name to watch in the pop realm. With a platinum single already to his name in “Someone To You,” Nelson’s songs transcend musical boundaries and makes the listener connect with him on a spiritual level. BANNERS would be perfect for fans of The Fray, Coldplay, and Dean Lewis, and this artist has made me a believer in his crisp pop production found on this record.

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Review: Dust Bowl Faeries – Carnival Dust

Adam Grundy

What do you get when you mix cabaret with polka, paired with a sliver of Danny Elfman-esque mystique to it? The answer can be found on Carnival Dust, the latest EP from the indie band known as Dust Bowl Faeries. The band is comprised of Ryder Cooley (accordion, singing saw, lead vocals), Jon B. Woodin (guitar, vocals), Rubi LaRue (lapsteel, vocals), Liz LoGiudice (bass, vocals) and Andrew Stein(percussion), and their willingness to push the envelope on what is possible in the folk genre is commendable. Dust Bowl Faeries seem very comfortable in their own quirky skin and proudly invite you to their show.

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Review: New Found Glory – Make The Most Of It

Adam Grundy

There are moments in our lives where we make a conscious effort to change the way we do things. Maybe it’s a change of careers, a lifestyle change of some sort, or an unforeseen change that’s completely out of our hands. New Found Glory are aware of all of these factors going into their latest album, Make The Most Of It, and they do their best to make the best out of a horrible situation. Guitarist Chad Gilbert’s cancer diagnosis influenced the majority of the songs on this album, but the overall message of hope and leaving behind a musical legacy are also prevalent here. Gilbert admitted, “I didn’t want this to be the ‘cancer record’ originally. But when we went on tour and people started hearing the story and connecting to it, I gave up on trying to control the narrative. Not all bands are dealt these cards, but we were. Let’s take these songs and help the disease get awareness and raise money for a cause that’s working on education and research for my rare cancer.” Make The Most Of It features several new songs, seven to be exact, with some reimagined acoustic versions added to end of the record to round things out. The reimagined songs came from their live set at Liberty Hall in Franklin, Tennessee, which came as a surprise to fans and myself alike. This seemed like a golden moment for NFG to give their fans acoustic studio versions of some of their favorite songs of all time, but instead it ends up as a missed opportunity.

New Found Glory has never shied away from their sensitive side, whether it comes from a pop-punk power ballad or reimagining their singles with an acoustic version. This side of them worked best on Coming Home, but the band has showed moments of promise throughout their tenure. New Found Glory have been called many things over their musical career, but “survivors” and “pop-punk legends” seem most appropriate now.

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Review: Frightful Places – Frightful Places

Adam Grundy

For those unfamiliar with Frightful Places, the emo band comes from the mind of Kevin Tiernan (Mighty Tortuga, Moving Brooklyn), and the self-titled EP tackles the theme of facing your fears head on. The set of songs was produced by Chris Teti, and it shows an artist growing gracefully in his thematic approach to songwriting. The EP was crafted during the pandemic and it showcases a reflection of an artist learning to take his direct influences and create something worthy of his own name.

The EP kicks off with the textured guitars of “Old Frame” that sets the stage nicely for the rest of the record. Tiernan sings over haunting guitars, “And now, a year/ A crooked frame hangs above the stairs / Windows open / ‘Cause I keep coming back / Like a ghost at the edge of the bed,” and its evident that he’s willing to face his fears with an open mind. The title track continues down the exploratory path with more picturesque instrumental parts that allow for Tiernan to hone in on the more atmospheric sections of the song. It’s eerily reminiscent of the vibe American Football went for on their latest LP, and hits its mark just as well.

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Review: Anti-Flag – Lies They Tell Our Children

Adam Grundy

The world can be a scary place. Wars have been going on since the beginning of time, and with the speed of the internet bringing information to our fingertips in seconds, it has become nearly impossible to block out all of the negativity in our lives. As a parent of three beautiful children, I have tried my best to shelter them from anything that could cause them any type of harm. With politicians in some states complicating matters by trying to re-write, or re-frame historical events in the way they see fit, it seems like a sense of urgency has been created to keep these people in check. Anti-Flag have returned at the perfect time with their 13th studio album, with the aptly titled Lies They Tell Our Children. The music that comes through the speakers sounds as passionate as these punk rockers have ever been, and seven out of the eleven songs found on the LP feature an outside collaborator. These contributions by their friends in other bands never seem out of place, and instead bring more voices into the “fight of our lives.”

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Review: Audioslave – Audioslave

Adam Grundy

When Zack de la Rocha left Rage Against the Machine the band was at a crossroads of where to turn to next. Veteran producer Rick Rubin suggested the band reach out to Chris Cornell (of Soundgarden fame) to pursue an exploration of the two powerhouse bands together as a new one. Cornell originally was planning on writing some material for a solo project, but he found the opportunity to work with the rhythm section of Rage Against the Machine too tempting to pass up. Audioslave was born as Cornell took the opportunity to sing over some song structures the band had laid out for him to sing over. Guitarist Tom Morello recalls the first jam session in detail as he said, “”He stepped to the microphone and sang the song and I couldn’t believe it. It didn’t just sound good. It didn’t sound great. It sounded transcendent. And…when there is an irreplaceable chemistry from the first moment, you can’t deny it.” This unique combination of Rage and Soundgarden would lead to a self-titled debut album that would go on to sell over 3 million units in the U.S. alone and establish this band in the forefront of Alternative Rock radio for the better part of a decade.

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Review: L.S. Dunes – Past Lives

Adam Grundy

In the music realm, labels and terms get tossed around way too loosely in order to try and quantify what is happening in a movement. From the early 00’s showing a boom in emo, to the “The bands” arriving around that same time, music critics and journalists like to make their mark on trying to pigeonhole different waves of music momentum. The term “supergroup” started when established bands would venture into other projects and explore their creativity in other ways. L.S. Dunes have been coined as a supergroup since they feature members of Thursday, Circa Survive, Coheed & Cambria, plus the mighty My Chemical Romance, so it’s hard to argue against the moniker. Usually when a supergroup forms, one band member tends to have their footprint more on the sound than others, much like how Audioslave still sounded Rage Against the Machine with a different vocalist. However, on Past Lives, this particular supergroup seem like they’ve being playing music together their whole lives, since the songs are well-constructed, balanced, and each band member utilizes their talent to put their stamp on it. While the introduction for L.S. Dunes came in the raucous lead single of “Permanent Rebellion,” a near-perfect punk rock track, Past Lives explores the depths of each band members’ creative abilities.

The album opens with “2022,” as lead vocalist Anthony Green wails, “I’m not afraid to try,” as a rallying cry for L.S. Dunes to investigate just where their musical adventure would take them. The songs on Past Lives are cohesive, yet each song sounds slightly different in its variation and song structure to keep things interesting. For example, on “Antibodies,” L.S. Dunes are able to build out a song based on lead guitarist Travis Stever’s spiraling riffing in the verses and choruses to allow for Green to sing his passionate lyrics with veteran ease. “Grey Veins” utilizes a great bass line from Tim Payne, while Frank Iero and Stever’s guitar playing complements the pacing set by drummer Tucker Rule. The band is fully aware of each others collective strengths, and they hone in on each of these parts majestically throughout the record.

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Review: Pinkshift – Love Me Forever

Adam Grundy

Music is a powerful tool, and sometimes you can pinpoint the exact moment when a band is poised for big things. I found out about Baltimore punk band, Pinkshift, in a similar way as most of us who visit this site on a frequent basis: by an insightful recommendation. Jason wrote about Pinkshift in a Liner Notes newsletter, and it piqued my interest in this band. Pinkshift does a really great job of combining anthemic punk rock with hardcore elements, paired with the pop sensibilities to add in flavorful hooks into the mix to keep the listener engaged and wanting to hear more from this sonically interesting artist whose music appears to spreading like a wildfire in the music community. Comprised of vocalist Ashrita Kumar, guitarist Paul Vallejo, drummer Myron Houngbedji, and bassist Erich Weinroth, Pinkshift are able to catch lightning in a bottle with the aggressive Love Me Forever that has the same potential for breakout success much like the early days of My Chemical Romance.

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Review: A Place To Bury Strangers – Exploding Head

Adam Grundy

The sophomore record from A Place To Bury Strangers called Exploding Head has received a vinyl reissue with nearly a full second album’s worth of bonus tracks tacked on to the end for your enjoyment. This “noise rock” band sounds crisp and full on the vinyl version that I’m listening to, and features some extensive packaging and other treats in this 13th anniversary deluxe set. When the album was released in 2009, it garnered mostly positive reviews, and it’s easy to see why. A Place To Bury Strangers channel the deepest, darkest parts of industrial rock in a sound that fans of NIN, My Bloody Valentine, and AFI would certainly enjoy.

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Review: Between The Echoes – Awake While Dreaming

Adam Grundy

When I last sat down to write about Between the Echoes, it was for their single “Phantom Limb” that featured Anberlin’s Stephen Christian on guest vocals. The band has since released their debut full-length record called Awake While Dreaming. The album features several twists and turns, much like navigating your way out of a labyrinth, and their ability to tell a story from beginning to end is rarely seen this vividly on a first album. Over the 14-track LP, that also includes three interludes to break up the sections of the album, Between the Echoes take the listener on a cryptic journey of self-discovery that is filled with plenty of youthful exuberance.

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