Review: PlainView – Nightlife

The latest EP from southeast Michigan’s own PlainView, is a nice emo throwback that revisits the glory days of the punk/emo boom of the early 00’s, with just enough new tricks thrown into the mix to keep things interesting. The band is comprised of Steven Dechausse (vocals), Aaron Rush (guitar/vocals), Andrew Momeyer (bass/vocals), Chris Parker(guitar), and Zach Schroeder (drums) and Nightlife was produced by Mike Martenson (Boys Of Fall). This set of songs that make up the EP features great guitar work, anthemic vocals, pulsating beats, and a little bit of everything you’d come to expect from a band heavily influenced by bands like Bayside, Silverstein, Aiden, and The Used. Guitarist Aaron Rush shared this about the EP, “Nightlife was written through 2020 and 2021 which I think were pretty demanding years for a lot of people. I was surrounded with a lot of stress and uncertainty after a close family member passed unexpectedly. This EP deals with a lot of those feelings but also acknowledges the growth and relationships that come out of dark places.” The band appears poised to take the next dramatic step forward after this great collection of hard-hitting songs.

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Review: Savage Garden – Savage Garden

Chorus.fm Savage Garden

A lot has changed since Savage Garden released their eponymous debut album in 1997. Not that it’s surprising — everything from technology to politics has rapidly transformed in just 25 years, so why shouldn’t music also follow that trend? Pop music today is closer to Savage Garden than pop music of ten years ago, strangely enough. I love seeing The Weeknd, Paramore, and Dua Lipa inspired by the glitz of 80s synth-pop and improving on pop-punk with empowerment and new stories. In a way, I suppose the music that multi-instrumentalist Daniel Jones and vocalist Darren Hayes have released, both from their time as a duo and Hayes’ solo career, hasn’t truly left us.

As a kid growing up in Australia in the late 90s and early 2000s, Savage Garden were inescapable. They were making music when there was more funding for showcasing Australian music. You’d hear “Truly Madly Deeply” on the radio (which I heard on the radio days ago, coincidentally, so that you know how omnipresent the singles are in this country). They performed on weekend television, we played their albums in my house, people still argue about misheard lyrics to “I Want You,” and they sold a shit ton of records. They performed at the 2000 Sydney Olympic Games Closing Ceremony. Delta Goodrem reworked her classic “Lost Without You” with Hayes. They played to huge audiences in their home city of Brisbane, Australia, a rousing response, to be sure, following mammoth tours around the country. Hell, Hayes even sang by Luciano Pavarotti’s side in a 2000 concert for Cambodia and Tibet. Savage Garden were massive, and rightfully so. 

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Review: Avril Lavigne – Love Sux

The first studio album in three years from the “Pop Punk Queen,” Avril Lavigne, delivers on all of its potential. Her seventh album in total, Love Sux was produced by veteran hit-maker John Feldman (among others including Mod Sun and Travis Barker) and has a ton of aggressive and hard-hitting songs that are sure to grab your attention. In a recent interview with NYLON Magazine, Lavigne shared this about the direction of the new record, “This is the first one that’s just rock all the way through. There was a point in music where the label was like, ‘Radio don’t want to hear guitars anymore.’ Live drums went away. Live electric guitars weren’t getting played. There’s always been that fine line that I’m going to make my music that I’m feeling but also you have a company behind you who influences what you’re doing.” This dedication to making the music she was driven to create makes for one of her most accessible and rewarding albums to date.

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Review: Marcy Playground – Marcy Playground

I’ve never particularly liked the term “one hit wonder,” since it implies that the band or artist didn’t have any other good material that preceded or followed after a moment of success. Alas, Marcy Playground usually gets lumped into that “one hit wonder” moniker when discussing bands from the late 90’s Alternative Rock scene. The band found breakthrough success with their song “Sex and Candy,” and they steadily released three additional albums, with their last studio album coming in 2009 called Leaving Wonderland…In A Fit of Rage. Marcy Playground recently paired up with other 90’s bands like Everclear and Local H on 2018’s Summerland Tour, and I always felt like they didn’t get the true recognition they deserved for their unique brand of quirky rock. Marcy Playground in particular, their self-titled debut, was one of those records I discovered later in life and was kicking myself for not diving further into the material earlier. There’s never been a better time to dive back into this record that delivers all over the album.

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Review: Methyl Ethel – Are You Haunted?

Methyl Ethel - Are You Haunted?

Methyl Ethel is one of the most exciting artists in Australia right now. Led by multi-instrumentalist and producer Jake Webb, the Perth-based artist gathers numerous artists for his live shows. Webb has built up an impressive reputation: he has gained accolades for his solo work; the third Methyl Ethel album, Triage, released in 2019, was a mostly solitary affair. The band has supported Pond on tour, released Record Store Day exclusives, and steadily climbed the ARIA Charts with each release.

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Review: fun. – Some Nights

fun. - Some Nights

I can still remember the moment when I realized that fun. were going to be ubiquitously, annoyingly, stratospherically huge. It was February 5, 2012 and I was sitting on a ratty faux-leather sofa in my college apartment, hanging out with my roommates and watching the Giants beat the Patriots in Super Bowl XLVI. During one of the commercial breaks, I heard an already familiar (to me) wall of synths and tinkling pianos, and a soon to be inescapable (to everyone) chorus hook that loudly declared: “Tonight/We are young/So let’s set the world on fire/We can burn brighter/Than the sun.”

That 60-second TV spot, an ad for the 2012 Chevy Sonic, effectively launched this trio of pop-rock polyglots into outer space. “We Are Young” already had a little bit of buzz building behind it at that point, having featured prominently in an episode of Glee that aired in December 2011. But it was the Super Bowl placement that, to quote the song, set the world on fire. A week later, “We Are Young” topped the Billboard Hot Digital Songs chart. 16 days after the Super Bowl, fun. released Some Nights, their sophomore album, which contained “We Are Young” in the track-three slot. The album sold 70,000 copies in the first week and debuted at No. 3 on the Billboard charts, despite generally mixed critical reviews. By March 17, “We Are Young” was the No. 1 song in the United States – a status it maintained for six weeks.

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Review: The Menzingers – On the Impossible Past

On the Impossible Past

I’ll never forget the first time I heard On the Impossible Past. I had a copy from a friend who told me for months to check out The Menzingers and that this album would blow my mind. I was in my car getting ready to head to work, when I finally decided to fire up the record on my iPod. At the time I was 23, I was in my first year out of college, working a job I hated and was missing the great times I was having with friends months earlier. As I put the car in drive, the words “I’ve been having a horrible time, pulling myself together,” spilled out of my speakers and time stopped. “Good Things” immediately wowed me and all I could do was turn up volume up. 

On that drive to work, I never made it past “Burn After Writing.” I kept going back to “Good Things” and repeatedly listened to the opening two tracks bleed into each other. It wasn’t until my ride home where I discovered “The Obituaries” and what the rest of the album had to offer. Listening to On the Impossible Past in full for the first time was truly an out of body experience for me. The storytelling by singer/guitarist Greg Barnett and singer/guitarist Tom May swept me off to a different world that took place years ago; I was getting drunk in the back of a Lions Club, I was getting drunk with Casey before I did dishes and then I walked home single, seeing double. 

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Review: Joywave – Cleanse

The pandemic has been pretty shitty for a lot of people. Add in the effect it has had on the music and entertainment industry, and you’ll begin to understand just how difficult it was to try and remain creative. Or, in the case of Joywave, you spend a full 18 months prepping for your sprawling and well-conceived third album called Possession, and it becomes almost DOA as the world shut down around the band and others. The band described these feelings on a recent Facebook post by saying, “It was crushing to watch everything we had worked so hard to roll out in just the right way obliterated in an instant.But creatively, the timing couldn’t have been better. Something more positive began to emerge. With our dense touring schedule shelved, I was able to reflect on past travels and appreciate them in a new way. But reminders of our fragile mortality were everywhere, punctuated by the ongoing pandemic and civil unrest. The music began to encompass all of this. It became the words, encouragement, and occasional cautions that I would want to share with you if this was the last time we spoke. And with all this time spent looking inward came the realization that there were still a few chips I was carrying on my shoulder that I needed to let go of. Maybe you have those too.One of my first jobs ever was at a car wash. I thought of the band, after years spent on the road taking a breather. Going through that wash process. Watching all the dirt and mud stripped away. Coming out the other side refreshed and rejuvenated. Still having experienced everything from before, but no longer wearing the scars.” The era of Cleanse has arrived for Joywave, and the timing appears to finally be in their favor.

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Review: Weatherstate – Never Better

When I last checked in with Weatherstate, lead vocalist Harry Hoskins shared some of the insight that went into their new album Never Better as well as the latest single/music video for ”Headstone.” As I continued to explore the band’s sound on this full-length record, I became enamored with the direction the band took on this 11-song LP that hits its intended target more often than not. In addition to band leader Harry Hoskins, Weatherstate is comprised of Callan Milward (lead guitar), Joe Hogan (bass), and Toby Wrobel (drums) who each have at least one standout moment on Never Better. Hoskins shared this about the direction the band took, “Never Better stems from a place of monotony, helplessness, and apathy at the state of the world around us. The record reaches out to different feelings that many of us have experienced over the last few years, from a state of mind that is pessimistic when faced with the question, will things ever improve? Lyrically this album touches on personal grief, abusive & toxic relationships, losing touch with the things that you once loved growing, and overall acceptance that it is what it is, and you sometimes have to buckle up and move forward to keep yourself sane.” With so much relatable material, Weatherstate may have just made your next favorite album.

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Review: Hippo Campus – LP3

The aptly titled third studio album from Saint Paul, Minnesota’s own indie rock band Hippo Campus is filled with vibrant and layered guitars, smooth as silk vocal harmonies, and plenty of reasons to get excited for their latest direction in their sound. Having just released an EP called Good Dog, Bad Dream last year, this young band appears to have no limitations in their creativity and approach to their music in general. I really enjoyed their last full-length effort, Bambi, and their debut called Landmark made me a lifelong follower of their music, yet with LP3 I couldn’t help but feel a little unfulfilled. This was the first album I didn’t love from first listen, and yet there’s plenty to like on this record that has expanded the possibilities of this band’s music. Time will tell if some of the feelings I have on future spins of this album leave me with a better outlook on this LP.

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Review: A Place to Bury Strangers – See Through You

A Place to Bury Strangers - See Through You

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.

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Review: Wild Rivers – Sidelines

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.

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Review: Kulick – Everyone I Know Will Die

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.

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Review: Bad Suns – Apocalypse Whenever

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

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.

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