Review: Emarosa – 131

Drew Beringer Aug 3, 2016

“Nothing ever happens until it happens to you” bellows Bradley Walden on “Miracle,” the second single off 131, the newest release from his band Emarosa. It’s an exhilarating moment on one of the album’s most electrifying tracks. It can also be interpreted as the main thesis behind 131 – professionally (Emarosa) and personally (Walden). 131 is the second album to feature Walden as the band’s lead vocalist after original vocalist Jonny Craig was kicked out for a myriad of reasons. It was a fight or flight moment for the band and they struck gold when they tapped Walden to handle vocal duties, and the band’s third LP, Versus, followed soon after. That record was a very respectable release but you can hear that both the band and Walden were still in that adjustment period stage and trying to feel each other out. Versus was the beginning of the band’s shift away from post-hardcore into more of a fluid pop-influence, but without losing any of their aggressiveness. And 131 is the fully realized version of that sound — Walden and company have grown together to create one of the most powerful and honest albums of year.

Review: Blink-182 – California

Drew Beringer Jul 18, 2016

What’s left to write about Blink-182? There’s no point to rehash the drama that Mark Hoppus and Travis Barker have with Tom DeLonge, nor is there any point to harp on the incredibly bizarre interviews and statements DeLonge has given the press lately. We’ve all ranked their discography a hundred different ways and chosen sides. I guess all we can really do now is talk about the music, right? It’s a development that I (and many others) will welcome. And, when we talk about the music, we’ll find that band’s seventh full length album, California, is probably the most classic Blink release since 2001’s double-platinum Take Off Your Pants and Jacket.

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Review: Sarah Jarosz – Undercurrent

Craig Manning Jul 12, 2016

Texas Americana artist Sarah Jarosz is only 25 years old—and recently 25, to boot—but she already has four albums under her belt. Her third, 2013’s Build Me up from Bones, even earned a Grammy nomination for Best Folk Album. It’s with her fourth album, the brand-new Undercurrent, that Jarosz is making a case for herself as one of the finest artists in the genre. On the last album I’d have argued that the best song was a cover of Bob Dylan’s timeless “Simple Twist of Fate”—already one of the best songs Dylan ever wrote. Here, all 11 songs are originals, and they showcase new depths of confidence for Jarosz. Even when she’s working with co-writers, everything on Undercurrent feels bent to the same artistic vision.

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Review: Dashboard Confessional – Dusk and Summer

Craig Manning Jun 27, 2016

Dusk and Summer is my favorite Dashboard Confessional album. How’s that for a contrarian statement? For most fans of Dashboard, Dusk tends to occupy the lower rungs of discography rankings—if not the very bottom slot. There are obvious reasons for this lowly reputation, and they happen to correspond with the various groups of Chris Carrabba fans that exist out in the wild. The first group of fans is the “there from the beginning” group. These people were listening when Carrabba first arrived on the scene and released The Swiss Army Romance (2000) and The Places You Have Come to Fear the Most (2001). Fans in this group are incredibly attached to the stripped-down acoustic arrangements and heart-on-the-sleeve angst of those first two records. They cite Swiss Army and Places as foundational albums in the emo and pop-punk movements, label them as classics, and point to Carrabba going full-band (on 2003’s A Mark, A Mission, a Brand, a Scar) as the moment where everything went to hell.

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Review: Red Hot Chili Peppers – The Getaway

Craig Manning Jun 22, 2016

Sometimes with the Red Hot Chili Peppers, it’s best to think of Anthony Kiedis and his vocal lines as just another instrument in the mix. There’s at least a little bit of evidence that the frontman views himself that way, too. As New York Times journalist Nate Chinen wrote in his review of the Peppers’ new album, The Getaway, Kiedis “writes lyrics with rhythmic cadence first and foremost, which means that there will always be bursts of babble.” RHCP have always been a band whose foundation is rhythm, from their early days as a funk band to their transition into more conventional alt-rock territory with 1999’s Californication. With a rhythm section as talented and dynamic as Flea and Chad Smith, it’s tough to blame Kiedis for wanting to write lyrics that allow for better beat and syncopation. The negative consequence to that impulse is that Kiedis is very frequently singing lyrics that, while they might mean something to him, don’t carry much weight for the average listener.

Review: Gates – Parallel Lives

Craig Ismaili Jun 21, 2016

My favorite moments in music are the ones that feel transcendent; the ones that seem to transport, envelop, and transform your circumstances as you sit down to experience them.

These moments can come in many forms. For many people, an exceptionally crafted heavy moment, like a climactic bridge or a breakdown in a metal song, can bring that world-changing experience. For others, it may come in the form of a delicate and spacious quiet song which allows the listener to drift off into restfulness or meditate.

One thing that drew me to the overlapping genres of post-rock, ambient, and post-hardcore music is that this sense of place, this tangible connection with the structure of a listening experience, and this focus on the audience’s interaction with the music, felt innately immersive to me. Listening to the songs by these artists, whether or not they were purely instrumental, allowed me to pour myself into the music, experience it fully, and it allowed the music to pour itself into me.

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Review: Vinnie Caruana – Survivor’s Guilt

Becky Kovach Jun 14, 2016

Vinnie Caruana is perhaps best known as the front man for The Movielife and I Am The Avalanche; however, over the past several years he has steadily been making a name for himself as a solo artist . This spring Caruana released his debut full length, Survivor’s Guilt. What makes Survivor’s Guilt so memorable is the unrelenting passion Caruana imparts into each note. His recognizably gruff vocals, the meandering melodies, the stories he shares – each contributes to an album that drives home the darker themes of life and loss while maintaining hope for the future.

Review: Maren Morris – Hero

Craig Manning Jun 6, 2016

Often, country music is easy for the masses to ignore. Artists like Miranda Lambert and Eric Church are legitimately huge, but their appeal rests pretty squarely in the “Nashville” part of the radio dial. Every once in awhile, someone like Taylor Swift or Chris Stapleton comes along, lights the world on fire, and demands to be heard by everyone. For the most part, though, the people who claim to listen to “anything but country” can carry on without having to have their beliefs challenged by someone who is too big—and too fucking good—to ignore. I don’t know if Maren Morris is the next Taylor Swift or Chris Stapleton, but let me just say this: you aren’t going to want to sleep on Hero, Morris’s full-length debut.

Review: Radiohead – A Moon Shaped Pool

Aaron Mook May 31, 2016

Rarely does one have a moderate stance on Radiohead. More often than not, those who are familiar with the band have by now either accepted that Thom Yorke and company are geniuses (or perhaps aliens) or that the band is, as Dan Ozzi so eloquently put it, “for boring music nerds.” It should be no surprise that I fall in the former camp, believing the band’s penchant for mystique and evolution has helped pave the way for other scene favorites (including Thrice and Brand New) and that even their most flawed albums (The Bends, Hail to the Thief) contain a spark that is integral to their later-career masterpieces.

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Review: The Hotelier – Goodness

Drew Beringer May 27, 2016

Three months ago, Christian Holden, vocalist/bassist of The Hotelier, posted on the band’s Tumblr a very personal essay reflecting on how their last album, Home, Like NoPlace Is There, affected the band’s lives and how they were going to proceed in the future. The essay also featured Holden coming to terms with being a public figure and exploring trust, art, and “realness.” Somewhere in the middle of the post Holden writes, “And I think this is what bums me out about the wishy-washiness of rock music and performance. Realness is a treasure in life. I don’t want to see uncritical postured realness. I want transparency.” And, well, you can use that declaration as the thesis statement for The Hotelier’s stunning new album, Goodness.

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Review: Thrice – To Be Everywhere Is To Be Nowhere

Aaron Mook May 26, 2016

You have to pick one: an album you enjoy or an album that the artist is happy with.

I’m not here to say either answer is correct or to call those who don’t enjoy Thrice’s long-awaited comeback, and ninth studio album, To Be Everywhere Is To Be Nowhere, selfish or wrong. But let’s be honest and say that rarely does artistic growth and vision mesh completely with fan expectation. Essentially, I’m arguing that there are going to be some fans who are disappointed with Thrice’s new album. As unfortunate as that is, the band should take solace in knowing they’ve crafted their best work in years.

Review: Saosin – Along The Shadow

Craig Ismaili May 25, 2016

Surely by now you have heard the good word: almost two years ago, Anthony Green rejoined Saosin, the band he fronted back in the early to mid-2000s, for a series of long-awaited headlining dates. It was unknown at the time whether the band would ever reconvene for a proper full-length with Green on vocals. But sure enough, here we are in 2016, and Saosin has just released Along The Shadow, their first full-length in seven years. The titular shadow could well refer to the dark specter of expectation that looms over this comeback album.

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Review: PUP – The Dream is Over

Blake Solomon May 24, 2016

PUP’s aesthetic isn’t a cool one. It’s not wrapped in two layers of irony, obsessed with a worldview, or holier-than-thou. Words that can describe both the band and The Dream Is Over are simple ones: loud, brash, louder, unsettled, loudest. In fact, naming their album The Dream Is Over is probably the most complicated thing about it, if only because it requires a backstory. (A doctor gave singer Stefan Babcock an apocalyptic diagnosis after observing his shredded vocal chords. But you know that already.) Everything else is pretty straightforward.

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Review: Modern Baseball – Holy Ghost

Drew Beringer May 13, 2016

About halfway through “Note To Self,” the third track off Modern Baseball’s new album Holy Ghost, Jacob Ewald earnestly proclaims: “There will be no more fucking around today.” On this particular song it’s mostly about Ewald taking control of his life, but that line can be applied to the Philly quartet’s evolution as well. The band’s first two releases (Sports and You’re Gonna Miss It All) catapulted the band from humble beginnings into playing shows with punk stalwarts like The Wonder Years, The Menzingers, and Say Anything. This rise set them up as the premier band on Run For Cover’s roster. But there was also plenty of fucking around on those albums while they blurred the lines between pop-punk and emo. On Holy Ghost, there are no more assholes with iPhones or songs about Chloe’s Twitter handle. Rather, Modern Baseball’s third LP works as a split release – Ewald writing and leading the first six tracks while Brendan Lukens undertaking the last five. On the surface this may seem like a recipe for an uneven listening experience; however, Holy Ghost rolls through its eleven tracks beautifully while touching on topics like finding love, battling depression, fighting addiction, and coping with mental illness.

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Review: Red Hot Chili Peppers – Stadium Arcadium

Craig Manning May 9, 2016

Why would any band ever release a double album? Serious question. The deck is stacked against you. Even the Beatles couldn’t do it without filler, and they were working in the days of vinyl. (Plus, you know, they were the Beatles.) What the hell do you have in your songbook that justifies two CDs of material? Calm down, go home, cut some tracks, and come back when you’re ready to be serious about making a cohesive work of musical art.

By all accounts, double albums are impossible. Even the acclaimed ones don’t escape the charge of filler, from Bruce Springsteen’s The River to The Smashing Pumpkins’ Mellon Collie & The Infinite Sadness. Let’s not even get into the kind of reputation that Foo Fighters’ In Your Honor has, or Arcade Fire’s Reflektor. And you can sure as hell bet that Justin Timberlake’s The 20/20 Experience and Green Day’s trilogy would have better legacies if they had been single-disc affairs.