Review: Good Charlotte – Good Charlotte

Adam Grundy Sep 28, 2020

Flash back to the year 2000, and a group of awkward young 20-ish-year-olds were looking for their own voice in a crowded punk field. What made Good Charlotte so charming was their ability to speak to the misfit youth of America by connecting directly to the underdogs of the world. They made this clear on their first radio single, “Little Things” with the spoken introduction of, “This song is dedicated / To every kid who ever got picked last in gym class / To every kid who never had a date to no school dance.” The band made it clear that they were making this type of music for the outcasts of the world, and they had the musical chops to back up what they wanted to accomplish. It never came across as a “gimmick” or an act, and their authenticity is what led to a lot of their future success.

Craig Manning Sep 28, 2020

I have fallen in love with a disproportionately large number of my favorite albums in cars. Riding in cars, sleeping in cars, driving in cars, singing in cars. 15-minute drives to school in cars and cross-country road trips in cars. Nighttime drives with no other cars on the road and gridlocked rush hour drives with hundreds of other cars on the road. Hot-as-hell summer drives in cars and cold-as-ice winter drives in cars that were slipping and sliding down snow-covered roads. Celebratory “turn the music up” moments in cars with friends, and long, lonely, sad solo drives in cars with nothing but the music and my own thoughts to keep me company. There is something about being in transit in an automobile that makes music sound better, and it’s something that can’t be replicated on a boat, or a plane, or a train, or a subway, or a city bus. It’s the combination of the small space and the big sound, of the endless scenery flying by outside the window and the tiny self-contained environment of the vehicle. The right car ride can make a good album sound great and a great album sound immaculate. I don’t think it’s any coincidence that my fondest years of musical discovery align directly with the years where I spent the most time in cars.

Brett Bodner Sep 25, 2020

There is just nothing better than early 2000s pop punk. Sure, I’m biased having grown up during this time, but the success of bands in this genre speaks for themselves. Blink-182, Sum 41, Fall Out Boy, Yellowcard, The Starting Line, Good Charlotte, and New Found Glory, were all over MTV and their albums were flying off the shelves of Sam Goody and FYE stores. New Found Glory helped push this pop punk boom to new heights when they released their self-titled album, New Found Glory in 2000.

After making waves with their debut album, Nothing Gold Can Stay, New Found Glory signed with Drive-Thru Records. This move would forever change both the band and the record label. On their first LP for Drive-Thru, New Found Glory would successfully blend their love of pop music, punk and hardcore into a record that was raw, yet showed signs they stumbled onto something special.

Adam Grundy Sep 21, 2020

It’s amazing to think how much things can change in just 20 years time. Bands form and can run their course over that period, whereas some of the best bands can stand the test of time by reinventing themselves over and over again. Enter AFI, who would continue to evolve and release some of the best melodic punk rock of this decade with this record. The Art of Drowning feels just as immediate, punishing, brooding, and essential as it did on its release via Nitro Records in the start of 21st century. Black Sails in the Sunset marked a smaller musical turning point for the band, as they began to explore some darker elements, and featured some new band members in Jade Puget (guitar) and Hunter Burgan (bass). But The Art of Drowning would remain the album that changed this band’s life for the foreseeable future. This core lineup would go on to record some of the more quintessential Gothic punk rock that future bands would try to emulate for years to come.

Adam Grundy Sep 17, 2020

Sundressed was originally formed by lead vocalist Trevor Hedges in 2012 out of necessity to battle his quest for sobriety. After some soul searching and through the addition of a few more band members, the band were signed to international label Rude Records to record a full-length record with producer Mike Pepe. The songs that would become Home Remedy became an almost cathartic experience for Hedges and his bandmates, as they crafted songs that directly give back to their core influences. Hedges mentioned in a recent interview about the new record that, “Home Remedy is a record about getting better by any means necessary. Despite many setbacks, I truly believe we were able to make our most authentic and honest record yet.” Sundressed remind me of the early Drive-Thru Records bands that were searching for their own voice in their early works, with equally pleasing results.

Brett Bodner Sep 10, 2020

In 2010, Linkin Park was one of the biggest bands in the world. They had put out two iconic albums with 2000’s Hybrid Theory and 2003’s Meteora, quickly turning heads for their unique sound, successfully fusing metal and rap together. Instead of getting painted into a corner as a nu-metal band, Linkin Park wanted to show they were so much more. They started to tinker with their sound, and the result was 2007’s Minutes to Midnight. Despite the album producing hits like “What I’ve Done” and “Bleed It Out,” the record received mixed reviews. Most of the songs were slower (aside from “Given Up” and “No More Sorrow”), there were guitar solos, string arrangements, Mike Shinoda sang more than he rapped, and Chester Bennington sang more than he screamed. Longtime fans of the band weren’t sure how to react. While they easily could’ve abandoned this experiment, they doubled-down on this new sound on A Thousand Suns, and the result was something special.

Adam Grundy Sep 10, 2020

The former American Idol Season 7 winner, David Cook, is back with a great new single and video for “Reds Turn Blue.” In this track, Cook dives head first into the manic highs and lows of anxiety, and lyrical material solidifies his path to dealing with his anxiety in therapeutic modes such as songwriting. In a recent interview with People, he mentioned that, “This song became a therapeutic process for me, as a way to personify my anxiety and make it something other than me — which in an odd way has helped me navigate my relationship with it.” David Cook is currently in the studio putting the finishing touches on his yet to be named next full-length record.

Adam Grundy Sep 7, 2020

My memories surrounding Anberlin’s fifth studio album, Dark is the Way, Light is a Place is kind of a mixed bag of emotions. While on one hand, I found the aggressive and darker tones to the music presented here as a nice change of pace from the brighter material that came before this, I couldn’t help but feel like some of the lyrics on this record were a tad too repetitive to connect with me on a deeper level. Anberlin worked on this record with veteran hit-maker Brendan O’Brien, and under his watchful eye, the band was able to create some of their best material as well. From the brilliant first single “Impossible” to the thoughtfully-crafted “Take Me (As You Found Me),” the band appeared to be hitting the right groove in the latter stages of their career. While some fans of the band regard this album as a rare misstep in the band’s evolution, I feel like Anberlin were at the cusp of something incredible during this moment in time. When asked about the possible impact of this record, Stephen Christian replied in one interview, “I feel like we’re on the brink of something…either world domination or destruction, but either way we’re on the brink.” By pushing themselves to the brink of creativity, the band have made an album that fits nicely into their storied discography.

Adam Grundy Sep 4, 2020

Barely Civil would be hard-pressed to find a more aptly titled moniker for their sophomore record as they explore the quest of discovering what it means to let go of the parts of themselves that no longer fit and move forward in this crazy thing called life. I’ll Figure This Out in many ways is an investigation into what it means to belong to something bigger than yourself, and finding ways to cope with both the good and bad that comes up. The album was produced by Chris Teti (TWIABP, Fiddlehead), and he does a masterful job of getting the best out of the band. The record’s highs seem bigger and brighter, whereas the lows of the LP hit home harder and have a lasting impact on the listener. The Wisconsin-based band have created a record that comes at a perfect time, as it will likely carry us through the uncertain fall and winter seasons as we say goodbye to this abysmal year.

Drew Beringer Sep 3, 2020

It’s funny how life imitates art, huh? Initially inspired by the whirlwind year prior, The Front Bottoms’ latest work In Sickness & In Flames chronicles the ups and downs of Brian Sella and Mat Uychich’s lives – marriage, emergency surgeries, and property burning down (hence the In Flames part). But then 2020 went to shit and The Front Bottoms’ fifth album has undertaken a completely new meaning (lyrics like It’s like I’m wearin’ a mask/But you could still see my face are so unintentionally poignant and just kind of sufficiently sums up the ongoing tension of this year). Produced by Mike Sapone, In Sickness & In Flames is the duo’s most genuine and well-rounded release in their decade-plus long history, meshing prior influences with bolder ideas.

Kevin Stevens Aug 31, 2020

On “Calais to Dover,” the penultimate track on Down in the Weeds, Where the World Once Was, Conor Oberst and company erupt into a huge, catchy, and devastating chorus, one that has all the trademarks of vintage Bright Eyes. There’s Oberst’s famously clever wordplay, where he examines his paralysis (“nothing is changing”) amidst a divorce (“everything’s changing”) while subtly playing with the expression “to state the obvious,” which, in its final declaration, closes the song like a gut-punch. Then there’s Oberst’s distinctively tremulous, emotive voice and the frantic energy that carries it; here Oberst’s trembling words pour out of him and, by the end of the song, he abandons words altogether and expresses his grief through a primal wail. And then there’s the glorious instrumentation, where a rush of pianos and shimmering guitars make the song feel massive—as they swell, it’s hard not to be swept up by the grandeur of the music and then, as Oberst’s clear vocals come into focus, be crushed by his sadness. The song encapsulates so much of the appeal of Bright Eyes: there’s often a simultaneous joy and pain in listening, as the group pulls you into their rich sonic world and then leaves you vulnerable to Oberst’s poignant lyrics. For these reasons, “Calais” is the standout to Weeds and one of the best Bright Eyes songs of the past 15 years. It’s also the album’s sole takeaway.

Craig Manning Aug 28, 2020

On his debut album, 2018’s sublime Dying Star, Ruston Kelly grappled with addiction and found his way to sobriety. It was a raw, revealing, heart-wrenching record, wrought with struggle and pain and rendered incredibly moving by what looked, at the time, like a hard-won happy ending. Kelly wrote the album after getting sober, falling in love, and getting married, to country star Kacey Musgraves. “I’m a dying star, front seat of your car/Where you brave the cold and come find me falling apart/Brought me out of the dark/I went way too far this time.” So Kelly sang on Dying Star’s eponymous song and penultimate track. In the album’s liner notes, he explained the lyrics and the idea of the song, which were inspired directly by the support Musgraves lent to him when he needed a little help pulling himself out of the darkness:

Stars are born and will die to be born as new stars again. A supernova brings life anew to the universe. A galactic baptism of sorts.
This song is an ode to the love between Kacey and I. There were many nights during the making of this record where I broke down in her car from the weight of who I had been. And how deep below I felt under it. And she every time, with patience and that special redemptive power only great women possess, reminded me I’m not that man anymore. No matter who or where you are, you have your thorn. It is my belief that’s why we are alive on this earth. To see the glow in the cracks. Light in the tunnel. Suffering is a prerequisite to joy in my opinion. But it’s also the human element that connects us all.

Adam Grundy Aug 27, 2020

Amber Bain, or better known as the band The Japanese House, is ready to bare her soul in order to get listeners to feel something. From the cover art of the Chewing Cotton Wool EP to the music, it all feels very symbolic. It’s almost as if Bain is saying, “This is me. This is the pound of flesh that you are getting, whether you wanted it or not.” It’s all a very powerful artistic statement for her to get this comfortable with herself in laying everything out there for the world to evaluate and unpack.

Bain has never been a stranger to releasing her music in the form of an EP to continue to engage her audience in her evolution as an artist. The Japanese House moniker released several EPs leading up to the proper full-length debut, Good at Falling. I first heard of The Japanese House through recommendations from friends mentioning this up and coming artist that incorporated synth elements into a unique rock, pop, and indie-styled songwriting package. I wasn’t expecting the Good at Falling record to end up being my favorite LP in 2019, and finding a new artist that I felt like was transcending the expectations of what a solo artist can accomplish. Chewing Cotton Wool is a short collection of four songs that continues Bain’s evolution as an artist willing to take risks to leave haunting stamps in our memory through her music.

Craig Manning Aug 26, 2020

Did The Killers just make their best record?

Conventional wisdom about The Killers—at least in the critical community—is that they peaked on their first record, delivered a few iconic hits and a bunch of filler, and then went off on an ill-advised journey to become this generation’s U2 (if this generation’s U2 were fronted by Bruce Springsteen, that is). People adored the glitzy, hedonistic pop tunes on 2004’s Hot Fuss because they were undeniable. They still are: there’s a reason “Mr. Brightside” kills at every wedding you’ve ever been to. But go forward in this band’s catalog and you’ll find fewer and fewer champions for each of their ensuing albums. 2006’s Sam’s Town, at least, is regarded as something of a lost classic. 2008’s Day & Age also has a generally positive reputation for its playful, all-over-the-place vibe—though its ardent fans are fewer and farther between than Sam’s Town’s. 2012’s ultra-bombastic Battle Born has its defenders (including yours truly), but also tends to get written off by music critics, casual fans, and Brandon Flowers himself. And Wonderful Wonderful is regarded by most as something of a dud (also not by me).

Brett Bodner Aug 20, 2020

The sign of a great band is one that sounds fantastic once all the bells and whistles are stripped away. State Champs has shown off this quality before with The Acoustic Things and they’ve done it again with their new EP, Unplugged. With each of their first three albums, State Champs have emerged as one of the best pop punk bands around today, if not the best. Unplugged proves that they’re not only an excellent pop punk band, but they’re just an excellent band, period.

The EP consists of four new songs and two reimagined Living Proof tracks. Unplugged kicks off with the beautiful “A Thousand Hearts,” which is this EP’s “If I’m Lucky.” The opener is a sweet love song where singer Derek DiScanio sings about finally finding the person he wants to give his heart to. It’s basically the song version of the saying “you have to crack a few eggs before you make an omelet.” The band delivers on each note throughout the track with a steady drum beat, piano and acoustic guitars. However, it’s Saxl Rose that steals the show with a killer saxophone solo at the 3:04 mark. The instrument fits in well throughout the song and it helps kick the EP off on a high note. (P.S. if you haven’t heard of Saxl Rose before, do yourself a favor and head over to YouTube and check out his pop punk covers. I recommend his covers of A Day To Remember’s “If It Means A Lot to You” and Blink-182’s “Always.”)

Review: Good Charlotte – Good Charlotte

Review: Jimmy Eat World – Invented

Review: New Found Glory – New Found Glory

Review: AFI – The Art of Drowning

Review: Sundressed – Home Remedy

Review: Linkin Park – A Thousand Suns

Review: David Cook – Reds Turn Blue

Review: Anberlin – Dark Is the Way, Light Is a Place

Review: Barely Civil – I’ll Figure This Out

Review: The Front Bottoms – In Sickness & In Flames

Review: Bright Eyes – Down in the Weeds, Where the World Once Was

Review: Ruston Kelly – Shape & Destroy

Review: The Japanese House – Chewing Cotton Wool EP

Review: The Killers – Imploding the Mirage

Review: State Champs – Unplugged