Update: The Cantina Cast has sadly gone away. I've re-hosted the story below and as a PDF on the Bantha Fodder media page.

One short jump down the Perlemian Trade Route from the galaxy's capital planet of Coruscant will bring you to Alsakan, home of Dr. Cornelius Evazan—quite possibly the most sinister surgeon in the galaxy.

Born and raised in the Core, Evazan later left and became a promising cosmetic surgeon in the Outer Rim, even opening his own clinic on the desertous planet of Abafar. In a settlement there called Pons Ora, the clinic lasted just a few years before closing near the end of the Clone Wars. This was no doubt in part to a poor economy and the fact that Evazan's madness led him to perform what he coined "creative surgery." Whether or not creativity has any role in medical practice is up for debate, but consensus across the galaxy determined that Evazan's experiments were unethical and torturous.

With warrants out for his arrest, bounty hunters began their search, leading to some close calls in which Evazan himself became horribly disfigured by a bounty hunter determined to cash in on the mad doctor. It was during this encounter that an Aqualish smuggler stepped in and saved the human's life, forming a partnership that would last many years after. Together, they smuggled goods for Jabba The Hutt on Tatooine to great success and monetary gain. It's here they became familiar with the local bar.

Practicing medical operations never left the interests of Evazan who recruited his pirating partner as an assistant in the kidnapping and alteration of individuals on Milvayne. The two wisely changed their names to cover their tracks. Evazan and Baba became Roofoo and Sawkee respectively. Their activities here caught the attention of local law enforcement which sent one lawman named Tam Posla on a mission to track and apprehend the criminals. The chase took him far outside of his jurisdiction to the planet of Jedha, a holy place for Force worshipers and the fallen Jedi order alike. In his efforts to bring the pair to justice, Posla left his position as an officer and accepted his role as a bounty hunter.

On Jedha, Evazan created a class of beings called The Decraniated, meaning—in effect—"headless" servants. Victims of the ongoing unrest in the Holy City fell prey to the Doctors techniques using cybernetic technology to strip their will and consciousness in order to sell them into servitude. Caysin Bog, a high-gravity humanoid, also saw discongfigurement on Roofoo's table after being blown apart during a strike by Saw Gerrera's band of freedom fighters. Reports of these Frankenstein-like beings are what led the bounty hunter to Jedha, knowing full well there was only one being that could possibly conceive and deliver such horrific results.

In an effort to ditch town before Posla could track them, Evazan and his partner took off towards the outskirts of town. In their rush, they bumped into a young human female named Jyn Erso and companion Captain Cassian Andor of the Rebel Alliance. The two parties parted ways after the manic doctor shouted a gruff warning to the travelers to "watch it." A variation of this phrase would be uttered shortly after arriving on Tatooine soon after.

It's unknown if Tam Posla escaped Jedha before it's destruction by the Death Star in its initial weapons test, but his bounties certainly did. In what was likely a move of pure convenience and familiarity, the felons landed in Mos Eisley's spaceport and 3 shortly sat at the bar of their favorite watering hole. Both ordered drinks from Wuher the bartender and began to chat with the other patrons—no doubt regarding what just occurred on the planet they just left.

Feeling invincible or perhaps particularly lucky after escaping capture and/or a terrible fate on Jedha, Ponda Baba chose to pick a fight with a local boy named Luke Skywalker who was sitting at the bar beside him. By the look and the smell of him, the boy was as green as the Rodian bounty hunter across the room. His threat, spoken in Aqualish didn't land with the kid. That's when his best mate, also drunk with the day's events and Wuher's finest grog, stepped in to translate. "He doesn't like you," he offered to which Luke tried again to escape the taunts with a simple apology. "I don't like you either," continued the emboldened doctor which drew the attention of the old man that accompanied the youth the the dingy establishment.

Obi-Wan's offer of drink fell on deaf and dumb ears and Evazan grabbed Luke and threw him into a table away from the bar and drew his blaster as if the thought of a free pint was an insult to his nature. Baba followed suit, ready for a fight that would end much more quickly than they could have guessed. There's an irony in losing limbs to a Jedi just hours after reattaching some to bombing victims in a Jedi holy city. Evazan suffered a nasty slash to the chest while Baba lost his right arm. Both survived the incident, although Ponda Baba nearly lost his life after Evazan attempted to reattached his appendage.

It's unclear what happened to the duo from that point on. With Baba's missing arm and a large wound across Evazan's chest adding to his poor eyesight, work must have been hard to come by, even while Jabba was still alive. Still, it's interesting to consider the small role they twice played in one of the galaxy's most dire moments. Their bump-in with Jyn and Cassian didn't leave much to bear on the events that transpired on Edeu or Scarif, but they did force a Jedi Master in hiding to use his blade. 4 This was the first time Luke, and very likely most of the cantina's patrons, had ever seen such a weapon in action and he would recall that moment in his training for years to come.

Doctor Cornelius "Roofoo" Evazan and Ponda "Sawkee" Baba were dangerous and vile, but crafty and intelligent in ways that were not evident in their drunken stupor when we first saw them. Their legacy on Jedha may have been abolished, but you can be sure there were more of Evazan's abominations living in grafted states of disrepair far across the galaxy for a long time thereafter. This piece was written by Jacob Tender for The Cantina Cast, which is sadly no more.

John Mayer has been teasing his return to pop music for some time, most notably through his Instagram.^[1] Of late, he’s been touring with The Grateful Dead as a member of their band.

It’s a bit of stretch to say that his last two studio records, Born & Raised and Paradise Valley weren’t pop releases. Yet the lurking notion that I’ve had following the guy has been that he’s coming back around to the guitar-driven pop that propelled his career through the early ’00s. The era I’m referring to started with Room For Squares and left off with Battle Studies, the last record he would record before several years of recovery from a granuloma in his throat. This medical setback made touring and recording very difficult for him and drove him to travel extensively until locking himself away in a somewhat secluded state to write the records fans weren’t sure were even coming.

Those records are fantastic pieces of work in their own right, meandering tunes meant for long lengths of road travel and relaxed evenings at home before a fire. Still, it’s easy to miss the more straightforward trajectory of his career pre-granuloma. I for one loved Battle Studies for its simplicity and straight-forward pop melodies. A return to this, as I believe Mayer has been teasing, isn’t necessary for me as a fan, but an interesting after a change of pace in is maturity on and off record.

So came “Love On The Weekend”, a single off of his forthcoming record believed to be titled The Search For Everything.^[2] The guitar tones themselves harken back to a time in his discography before the western hats and bolo ties, but not not so much as the lyricism of the track. As much as I try to follow my gut feeling that this is a progression from Battle Studies—a feeling drawn to comparison by songs such as “Half Of My Heart”—my head tells me this particular track leans more—at least instrumentally—towards Paradise Valley. Truthfully, it splits the difference in a way that Born & Raised didn’t. At its core, “Love On The Weekend” meanders while driving home a more youthful story than songs of the latest pairing of records.

“Love On The Weekend” is really quite enjoyable and even on the second listen, I found myself singing along. It’s available on all streaming platforms now as a nice appetizer for a full-length record.

Following the closure of Under The Gun Review in 2016, the site's longstanding tradition of Halloween adoration and criticism continued on at Substream with another round of 31 Days Of Halloween. This year, I contributed a piece on Halloweentown, a secretly depressing Disney Channel Original movie. My thank you to Brian for letting me take part.

Of all the holidays celebrated worldwide, no single day is loved by the Substream staff more than Halloween. With October’s arrival, the time has finally come to begin rolling out a slew of special features we have prepared in celebration of our favorite day.

31 Days Of Halloween is a recurring column that will run throughout the month of October. The goal of this series is to supply every Substream reader with a daily horror (or Halloween-themed) movie recommendation that is guaranteed to amplify your All Hallows’ Eve festivities. We’ll be watching every film the day it’s featured, and we hope you will follow along at home. Reader, beware, you’re in for a… spooky good time!

Day 19: Halloweentown (1998)

The year is 1998 and I’m sitting in front of the television in my pajamas watching a Disney Channel original movie because Mom said it was okay. I’d watch Halloweentown at least once every year after that for the foreseeable future—at least until we left town for the countryside and lost our cable hookup. Now the year is 2016, a goblin and a witch are running for the Oval Office, I have the Internet (which is way better than cable TV), and I don’t need Mom’s permission to watch TV before bed in my jammies or otherwise.

It’d probably been about a decade since I’d seen Halloweentown last, meaning I’ve never watched it with any respectable level of critical awareness in regard to filmmaking. That doesn’t mean I’m surprised to find that this movie is pretty corny; I’m just reeling at the revelation that what scared me in this TV movie as a kid isn’t what scares me now, but that I’m freaked out at all.

Halloweentown is the story of three children: Marnie Piper (13), Dylan (12), and Sophie (7). It is Halloween night and the neighborhood is enjoying some trick or treating and the festivities All Hallows’ Eve brings to normal kids. Trick is, the Piper kids aren’t normal. They’re stuck inside because Mom says so. Marnie, a supernatural enthusiast, is bummed out about that. Dylan, a dork, doesn’t seem to mind so far as he’s left alone with his book. Sophie just stares out of the window, ominously mentioning that someone is coming. That someone, arriving on a magical bus that flies through dimensions is their grandmother, Aggie Cromwell (played by Debbie Reynolds), who is a true witch. She is only able to visit her Earthly family on Halloween night while the portal is open, so visit she does with a Mary Poppins bag full of Halloween decorations and candy for the sheltered youth of the household.

Cue plot: The kids are put to bed with a bedtime story about Halloweentown, a place full of monsters and warlocks living in harmony with each other, away from the mortal world. As Grandma nearly lets it slip to the kids that this place is real, Mom arrives to shut down the party and the two matrons retreat to the kitchen to discuss matters (primarily Marnie and her training as a witch which must begin before her 13th year is up). Yeah, turns out witchery runs in the family; Grandma is a witch, Mom is a witch, Marnie is a witch, and Sophie is a witch. Only Marnie is in immediate danger of losing her powers forever unless she gets some practice, which is just how Mom wants it. Marnie overhears everything from the hall.

So here is where the story really takes off. The kids all sneak onto the bus and follow grandma through dimensions and space to Halloweentown. They meet the mayor, who ends up being the evil Kalabar (whose demon form scared the shit out of me as a kid) as well as the friendly townsfolk. The group make friends and with their grandmother start work on a potion to revive those poor souls frozen by Kalabar in the abandoned movie theater. Mom shows up and both she and granny get frozen as well, leaving it all up to the kids. The story really isn’t too bad, all things considered. Still, it’s the underlying theme that surrounds Marnie that haunts me more now than a scary warlock in a mask.

See, Marnie loves witches. She studied them before she knew she was one. She wants terribly to be a great witch like the Cromwell women before her. Unfortunately, she doesn’t have the talent. This is foretold by her brother during story time.

Sophie: [Pointing to witch on broomstick picture book] Look, it’s Marnie!
Aggie: Well there is quite a resemblance. [She flashes a knowing smile] Perhaps Marnie has a secret life we don’t know anything about.
Dylan: Well if she is a witch, she’s got the weird part down pat. It’s just the magic powers she’s missing.
Aggie: Have you cast any spells or flown through the night sky?
Marnie: No. The truth is, there’s nothing special about me.

Woof. We learned in the first scene that despite her interest in history and the supernatural, Marnie gets average grades in school. It seems clear that she has confidence issues. Her desperation to be more than who she is clouds her mind. She’s inadequate through and through, but after learning about her family’s heritage, refuses to believe it any more. This thought only becomes more depressing as the audience learns that her younger sister Sophie actually does have powers that she can use where Marnie can’t.

Clues to indicate that Marnie sucks as a witch, but that Sophie is actually more promising:

• Sophie shares Aggie’s ability to sense beings approaching.
• Marnie explains to a skeptical Dylan all of the bizarre things that happen in their house that indicate magic. She has deja-vu, books fly off of shelves when Marnie has a tantrum.
• Marnie and Dylan sneak onto the back of the bus unnoticed. Sophie sneaks on through the front unnoticed.
• Aggie’s gate is locked. Marnie tests her powers for the first time. Nothing happens. As she and Dylan argue about this, Sophie effortlessly turns the lock into a frog and opens the gate.
• Sophie has an uncanny ability to remember spells on the first try where Marnie cannot.
• When Mom arrives, she says that Marnie isn’t a witch. When Marnie flat out asks her later, she’s pulled aside and hushed so that Sophie can’t hear. Marnie doesn’t wait to hear what her mom has to say now assumes that she is. “I am a witch, all of this weird stuff has been happening to Sophie. Did that stuff happen to me?” It did, but Mom used the past tense.
• Sophie can sense Kalabar’s curse on the townspeople on sight.
• Sophie wears a really cool witch's hat the whole time and has a supernatural candor with animals.
• Marnie is unable to light Merlin’s talisman until Sophie physically touches it.

It’s painfully obvious that whether she showed signs or not in her youth, Marnie has clearly lost the ability to become a powerful witch. The subsequent sequels rewrote the book on all of that, but in Halloweentown, Marnie is a loser. It’s really quite sad and just might hit home for anyone who aspires towards something, but just can’t quite get there. Inadequacy wasn’t something I picked up on at age twelve. It wasn’t until I watched a kid’s movie in my mid-twenties that I picked up on the real horrors of Halloweentown: Not everyone is who they seem and not everyone can be who they want to be.

More of my entries from the 31 Days of Halloween series:

• 2016: Halloweentown
• 2015: Alien 3
• 2014: Aliens
• 2013: Alien, You're Next

The folks at Modern Vinyl asked me to write about Mansions some more, so I did. A few thousand words spewed out over the course of 7 hours and 10 loads of laundry.

Perfect LP is a feature in which the Modern Vinyl writers take on the tall task of summarizing an artist or band’s career in an LP sized selection of tracks. Bypassing what was the single, what was the “hit” and what fans call for throughout shows, it’s time to decide what makes up the Perfect LP.

The Rules

The selections will total no more than 50 minutes.
The selections are arranged in logical fashion, as in how you’d like to hear them in a real tracklisting.

The Subject

The brooding emotional faucet that is Christopher Browder (aka Mansions).

The Tracks

Note: For posterity's sake, I'm listing the playlist out in text here as well.

1. Tangerine
2. Never Enuff
3. Letsbsdtgthr
4. Unwell
5. Talk Talk Talk
6. Insulated
7. Close That Door
8. Yer Voice
9. Two Suits
10. The Economist
11. Last One In
12. 100 Degrees
13. Call Me When It's Over

The Explanation

Crafting an ideal tracklist encompassing Mansions’ career is like writing a eulogy for a loved one. Few write so candidly as Christopher Browder, which makes choosing highlights from his musical journal enormously complex and exceptionally personal. While each track chosen here is certainly a personal favorite of mine, none are more important to the scattered emotional narrative than this perfect LP’s omissions. My connection to Mansions is a long and intimate one. I’ve found both solace and companionship in these songs. They’ve carried me through difficult times and inspired me in better ones. Like a Eulogy, my track order is informed by life’s linear progression. My perfect LP spans almost 10 years, highlighting influential tracks in my life in the order they were written.

The Selections

Tangerine (from Mansions – EP, 2008)

A story starts at the beginning. The closest we can get to that on streaming services these days is with Mansions’ 2008 self-titled EP. It’s track 3 on that record that most completely sums up the complex web of subject matter in the years to come. “Tangerine” recognizes the fear, loneliness, and self-worth in youth today. Openness and acceptance has certainly come a long way in 8 years, but the way people grow into their own during those pivotal high school years remains. When Browder croons, “everyone is scared of showing people who they are,” his finest quality shines. His forthcoming style allows the listener to relate, while his obscure and scattered cadence lends itself to personal interpretation.

Never Enuff (from Best of the Bees, 2008-ish)

A common thread in Mansion’s music is the heartfelt difficulty of relationships. Jealousy, contempt, manipulation… it’s all present in Browder’s songwriting from the start. Best of the Bees was released to highlight the best of the numerous EPs Mansions released in 2008. “Never Enuff” scored highly in my book, not only for sparking my imagination for interpretation, but for what came from that. The first verse is ambiguous, but it wasn’t hard to pull a story about a strained bond between a religious father-figure and daughter who has begun making choices on her own. It’s a coming of age story without the heroism of popular media. The girl in this narrative is breaking hearts while following hers. It’s good to reflect on just how easily we can affect the lives of others simply by living out our own.

Ltsbsdtgthr (from Best of the Bees, 2008-ish)

Depression is no joke. I went through some rough patches in my latter years of high school and through college. It was that time I found Mansions and began retreating online. While some in my life felt I was abandoning the world and the many problems I felt it was laying on me, I was finding support through the friends I had made on the Internet. Through music and through writing about music, I’ve met individuals that not only understood what I was feeling in those dark periods — they had gone through it too. This song is about that for me. Plus it has harmonica.

Unwell (from Best of the Bees, 2008-ish)

It’s an uncommon circumstance for me to relate to both sides of a song. More specifically, to find a piece of myself in the perspective of the writer and in the perspective of the subject. In the case of “Unwell,” the writer is pissy over the fact their so-called friend isn’t there for them — albeit in a pretty superficial way. The subject, an unnamed recluse or someone simply trying to avoid the writer, is staying in or staying away. There’s more ambiguity here as to whether or not the perspective changes between verses or not, but that doesn’t really matter. My face has been etched on both sides of the coin — heads reclusive loner, tails abandoned friend. Friendships come and go. The incipience of friendships found and friendships lost can be frivolous or material. Either way, they are transitory.

Talk Talk Talk (from New Best Friends, 2009)

Being a quality friend isn’t easy. I think that’s why so many friendships fail. Some of the greatest friendships I ever had came crashing down over selfishness and unreciprocated understanding.

“You sat down on the couch and said, ‘What’s going on, how have you been?’ But you weren’t really listening.
I could tell by how you act like my lips never move, nod, then make it about you.”

Listening is the most important thing you can do for a friend. I’m not perfect. As many of my loved ones can attest, I certainly interject when I shouldn’t. I like to think I’m aware of that though and apologize when necessary. Some of my best friends throughout the years don’t think that way. I’ve befriended a lot of egos in two decades. While it’s sad to think back on friendship that ended this way, it’s experiences like these that inform our futures. Mansions records are chock-full of these.

Insulated (from New Best Friends, 2009)

The fear of losing someone becomes compounded with complexity when that someone is a major source of frustration in your life. It’s a balance between love and pain, one that plays out candidly in this New Best Friends track.

“I’ve never felt so insulated. Nothing can make it past my skin…Always afraid I’ll get that phone call.
Telling me that you aren’t here. Telling me that you gave up.”

Those that make you feel the most loved can also make you feel like the worst of yourself. Love is nuts.

Yer Voice (from Dig Up The Dead, 2011)
It was Dig Up The Dead that drew me into Mansions during my senior year of high school. Gallons of angst, indecision, and misplacement poured out of me into a swirling mixture with the tones and sentiments of that record. Never had I identified so heavy with a written work. Insomnia, purpose, relationships…These things fed into my psyche and daily life. I made sense of it all through key tracks like “Yer Voice”

“And the one thing that I need is the dreams back in my sleep where they belong.
I’m where they belong, you’ll see. This means everything to me.”

Close That Door (from Dig Up The Dead, 2011)
In time, I began to move on from the things bringing me down. What was important to me either lost its weight or found peace in the way things played out.

“I burned up your letters. My memory suits me better. Changed my name. I made my move.
I’m not the one who laid beside you. Forget before, and close that door.”

As I grew, so did Browder. As I wrote in my review of Doom Loop for Under The Gun, “Doom Loop isn’t what Dig Up The Dead is to me. It’s something completely different. It’s new conflicts, new fears. It’s every bit as impressive and thought-provoking as its predecessor.” I find that “Close That Door” makes for an excellent transition into a new period of both my life and his.

Two Suits (from Doom Loop, 2013)

“You never call or write like that’s some big surprise. How do you sleep at night?”

Grudges are a nasty, unpleasant, tiring emotion. As much as we’d like to move on completely, residual feelings remain. That’s okay though. As long as we don’t act on feelings of ill will, the path to improvement is a lot more free and clear.

The Economist (from Doom Loop, 2013)

In my 20th year of life, I met my girlfriend. In my 22nd year, we moved in together and got salaried jobs. I think I can speak for both of us when I say that our live aren’t perfect, but they’re pretty great.

“The faucets leak, the floorboards squeak. I’ve found my place to live.”

For me, working my day job isn’t the most fulfilling thing. I far and away prefer the creative endeavors I busy myself with at home.

“I just wanna be good at something I like, something I might wake up for.”

My girlfriend has been the most supportive person in my life for two years this month. This song had a different meaning to me three years ago, but that changed. That happens a lot with Mansions songs. The candidness makes the music personal. The ambiguity makes it timeless.

Last One In (from Doom Loop, 2013)

I’m still living in the same area I grew up in. I’m 30 miles from where I was born and just 10 from where I went to school. That has its drawbacks and its benefits. Being so near to my family and friends is a blessing, but that comfort is constantly at war with my desire for more than what northeastern Ohio can offer me. Browder seems to relate.

“I had it oh so easy, a charming life, but I don’t live here anymore and I don’t really care the way I thought I cared before.”

I’m happy here, but the feeling isn’t the same because I’m not the same.

100 Degrees (from Doom Loop, 2013)

If motivation and place is the theme for the latest of Mansions’ work, I think “100 Degrees” exists as the thesis. At a certain point, if someone wants to make a real change in their life, recognizing complacency and making resolute efforts is imperative. This song might be more about being held back, but I take more from it than that.

“I know some days shit gets so heavy, but I won’t sing that song no more. Yeah, it’s okay.”

Call Me When It’s Over (from Dig Up The Dead, 2011)

Of all Mansions’ emo ballads and earnest anthems, this is my favorite. This is the song that year-after-year I have found some new meaning in — some change in perspective. There is no other way to end the perfect Mansions LP than with this, the most openly honest and heartbreakingly sad song I’ve ever heard.

“Call me when it’s over, when it’s time to fade away, cause I got bruises I won’t let you see.
We were never friends and, man, I swear that that’s okay. I always knew the truth, but tried so hard not to believe.”

See what I mean? Then there’s this one — the existential line that’s rung in my ears for 5 years now.

“Well God is dead and there are no reasons I should sing, but I still do it anyway. Yeah, I am singing all the same.”

I’m not a sad, lonely, or depressed person. Not anymore. I do get down and question my place in the cosmos on occasion, but I’m pretty happy with the way things are right now. Mansions has a big role in that. I’ve grown up with these records. Not in the way that you grow up with The Eagles because your mom is really into “Peaceful Easy Feeling.” More like a growing into yourself sort of way. This collection of songs has foretold, mirrored, and reminded me of my life time and time again. This is my perfect LP.

“I think I’m going to shotgun a Redbull. They don’t affect me like they used to,” said Lydia guitarist Justin Camacho as I walked into the green room of Musica, Akron’s coziest music venue. “Damn, you got the XL one,” continued Leighton Antelman, vocalist of the group to Matt Keller, who holds up the keys and programming end of the live performances and proceeds to take a swig.

There are still two bands left to play before Lydia takes the stage on their Run Wild tour and my girlfriend and I are settling into an old couch while the band banters on about drink tickets and cans of liquid energy. The Technicolors just finished up their set and I decided that was a good enough place to start. I asked the three band members about their Phoenix friends and whether or not they chose them for the tour. It was a perfect fit for the bill’s opener, but I wanted to know more.

“So F-ing good,” chimed in Keller when I mention how great the first set was. It’s true, they’re fantastic and also on 8123’s management roster. “They’re a pretty new band, so we thought ‘Let’s take these kids out!’”

That’s when Leighton asked me about the lighting during the Technicolors set, which was—put nicely—frantic. While I thought it weird for the crew in the booth to test out lights during a performance, reality proved that it was Camacho behind the boards—playing jokes.

Settling into the conversation I came for, we dove right into Run Wild, the band’s latest effort on 8123. In our last interview, the band set the tone for the yet-released record as “moody” whereas the album previous, Devil, had a happy vibe. I wanted to know how the musical make-up of these new songs—which vary in both tone and production—played a role in splitting the record between two producers, Colby Wedgeworth and Aaron Marsh.

“The producer decision came early on in the process,” began Keller. “It had been floating around for a bit. We thought that going with two producers would break it up a bit, you know?” With the decision made and songs chosen for each session, that’s the way it went. “We had probably fifteen to sixteen songs to start,” Camacho offered. “We worked with Colby on Devil and at first it was like ‘this will be a really great one to do with [him].’ The ones that weren’t so poppy and vibey kind of stuff we figured we’d do with Marsh. We had a good feeling about which ones we wanted to do with who.”

“At the end of the day, Colby will be the first one to tell you he’s a pop guy and Aaron will say he’s not a pop guy,” pointed out Keller. This is true. From his work in Copeland to his long list of production credits, Aaron Marsh is known for his soaring instrumentals and darker tones. “I worked with him a little bit on Illuminate, interjected Antelman. ”When we were going through a list of producers, his name was in the mix and we landed on him. It wasn’t like we were like ‘we need to do this record with Aaron Marsh,’ we had just worked with him in the past and thought it would be cool.”

Touching back on the benefits of splitting the record between two producers, Keller spoke of the “push and pull” between the tracks. “Colby’s first instinct is to make something big and massive. We knew we had a couple of songs that wouldn’t translate that way. We didn’t want to force it and we knew that Aaron was the opposite of that. There’s a back-and-forth between any artist and producer, so with Colby we’re always pushing him to be a little weirder, and with Aaron, it was ‘let’s get a little more poppier about it.’”

To me, and I don’t think I’m alone in thinking this: I hear an unmistakable hip-hop influence in Lydia’s music. I can’t pin it down exactly, but I had suspected that it came more from Leighton Antelman’s songwriting than anything else. That influence is pervasive in his work from Lydia to The Cinema to, most obviously, his collaboration with Sean “Somnous” Rogers. I mentioned this to him while he reclined, barefoot, in the couch opposite me. He paused, but only for a moment before admitting, “I’ve heard that before, to be honest. I don’t know if it really plays a role, but all three of us listen to a decent amount of hip-hop. Certain rappers flow really well. For instance, Kanye West is someone whose verses are really inspiring to me. How he goes behind the beat a little bit and catches back up and goes back and forth. I don’t like singing with a metronome. I like to fall in and out of the beat, so I suppose it does—whether I like it or not. Subconsciously, hip-hop influences how I sing. Maybe not how I write, but how I actually project the words on to paper.”

It went further than that, the simplicity of hip-hop music played a big part in the making of Run Wild. “That actually played into it a lot,” continued Antelman. “Our tendency is to layer stuff. On this record, if it wasn’t needed to get turned up in the mix, we just took it out. If it wasn’t crucial to the song, we took it out. A lot of hip-hop songs are just a beat and a synth. I thought it was cool to strip it down, not clutter it–”

“–which is an easy thing to do,” throws in Camacho. “‘This guitar part sounds cool, let’s put it there.’ is an easy thing to say, but is it doing anything or is it in the way?” Antelman chuckles, “They had to stop me from doing that. I just want to keep putting shit in.” “‘I think we need to put something in,’” role-plays Keller before mimicking a harmony-ready Antelman. “‘Yea, a vocal…’” The band laughs this off before the singer adds, ”It was the first time we’ve ever done that and it was interesting.”

“–and hard…,” Keller adds.

They couldn’t have done this if they had produced Run Wild on their own, like they had done for releases past. “He really pushed me the hardest, Antelman gestures to Keller who just took another swig of his Red Bull. ”Me and [Justin] both like to layer stuff, but [Matt] was more like ‘let’s strip it down.’” Lowering the can to his lap, Keller puts on a semi-serious tone. ”I want to hear the important elements of a song. So many times there is a tendency to add something just because you don’t have the right thing in there yet. Maybe instead of three guitar parts, you just need one really good one.” Antelman caps off this part of our talk nicely, ”To be fair, sometimes layering is cool. This is just a different approach we tried to take that Lydia usually doesn’t.”

I think this approach and the choice to bring two producers into the mix did a lot for the record. Run Wild is a natural progression and follow-up to Devil; I think taking half of it to Wedgeworth and the other half to Marsh moves things forward for their sound while keeping the renewed spirit that the last album brought very much alive. The question is how they’ll move forward from Run Wild. The band plans to keep touring on the record, as most bands tend to do when they put something out there, but they’re all writing. Always writing.

In an interview with Idobi, the band alluded to 20 or so tracks that they had in various states of preparation going into their recording sessions. 11 took place on the final record. I asked if there was a chance to hear those unreleased tracks, possibly released as B-sides like the band did for Devil. “We’re not sure yet. A lot of the ones that didn’t make the record morphed and turned into completely different things. They’re still on paper but, at the end of the day, there’s a reason they didn’t make the album. They probably will make it on to something, but they won’t be what they originally were.”

“Two or three of those 20 that we had ended up morphing into each other. We had a couple that were in the same key, so we took a verse from one and they kind of matched up. There were two or three songs on the record that took some of the others out of play,” said Camacho. “Some just weren’t good,” remarked Antelman. “Some of the B-sides to Devil were leftover songs, but we kind of just wrote two as well. We don’t ever want to put out something that we didn’t think was good enough. Like, ‘here you go.’”

It bears repeating that Run Wild strikes a passing resemblance to Devil in many ways, but mood is not one of them. While one was lighthearted through and through, the latest pulls on a different set of heartstrings. “Devil was a really happy record,” says Keller tentatively. “I can’t say [Run Wild] was a reaction to that because it wasn’t. We toured a lot on Devil and we all got to know each other a lot more in that time. Life happens. It finds itself.”

For Leighton Antelman, it’s not about sitting down to pen anything specific necessarily. “For me, and I don’t know about these guys, it’s certainly not like I sit down to write a happy song or weird song. Whatever comes out comes out. This record just happened to be more moody. It could have been another happy record, but that’s not what came out with Run Wild.”

As Turnover takes the stage and floods the alleyway and greenroom behind the venue with noise, I switch tracks to vinyl. There’s a massive desire for Lydia’s discography on wax. This is becoming more and more realistic lately. The band recently announced This December; It’s One More and I’m Free is getting pressed for the first time by Bad Timing Records. I asked the group how that pressing came to be, 10 years later. Antelman jumped to answer.

“[Bad Timing Records] got the rights to it from our first label and—while they could have just put it out themselves—they were super classy about it and reached out. They wanted us to be a part of it. As sad as it is, people can just put out your record if they want. I don’t own that record. I wrote it, but I don’t own it. So, they reached out to us and asked if we wanted to be a part of it and we said ‘Yeah. Hell yeah.’”

It’s hard to pretend there isn’t some resentment hidden in that statement regarding Shop Radio Cast’s recently announced pressing of Illuminate. The band had its own plans to release the album on vinyl before SRC obtained the license to do it themselves—and without the band’s involvement.

Note: This is pretty common. A similar situation occurred with Cartel when preparing their release for ‘Chroma.’ The result of these situations is usually two pressings, one unethical—done quickly to cash in before the band-sanctioned release—and one “official,” produced with care and attention to detail in a way only the content creators can provide. While the second can take longer to produce, the overall quality far exceeds the first.

So I asked the band about the progress as it pertains to their release of Illuminate. “We finally have all of the content to put it out ourselves, which has been a nightmare to get, but we have that. We’re going to include a bunch of really cool stuff with it. It won’t just be the record. There will be attachments like acoustic stuff and other content. That will be out early next year.”

With This December and Illuminate on lock, I asked too about Devil. Devil was pressed when the record dropped, but for those who missed on the initial sale, finding it for a reasonable price is a near impossibility. At the time of writing this, the cheapest copy I could find available for sale online was going for $100 on Discogs.com. I’m personally holding out for a repress and figured relaying those figures to the band wouldn’t be a bad step in making that happen. “Devil??” came a resounding cry when I gave them the going price for the record. “People are brutal,” said Antelman.

“We don’t have any Lydia vinyl right now,” clarified Camacho. “Run Wild is getting printed and is close to being done. It’s awesome that the Devil vinyl all sold and I think we’ll probably reprint them at some point. There hasn’t been a conversation about it, but we probably will.”

As is tradition, I lent my love of horror and science fiction to Under The Gun's 31 Days Of Halloween. My piece on Alien 3 was published this week.

This year's series is dedicated to the memory of our late friend and colleague Justin "JP" Proper, who is responsible for the existence of UTG's film department.

Anyway, Alien 3 is a good one, but critically panned. I weighed in on David Fincher's directorial debut.

Of all the holidays celebrated worldwide, no single day is loved by the UTG staff more than Halloween. With October’s arrival, the time has finally come to begin rolling out a slew of features and special announcements we have prepared in celebration of our favorite day.

Now in its fourth year, 31 Days Of Halloween is a recurring feature that will run throughout the month of October. The goal of this column is to supply every UTG reader with a daily horror (or Halloween-themed) movie recommendation that is guaranteed to amplify your All Hallows’ Eve festivities. We’ll be watching every film the day it’s featured, and we hope you’ll follow along at home.

This year, the entire 31 Days series is dedicated to the memory of our friend, Justin Proper. We wouldn’t have a film department without him, and he specifically helped pioneer our involvement in the horror genre. Rest in peace, JP.

Day 5: Alien 3 (1992)

“This is rumor control. Here are the facts.”

Star Wars laid an early claim to a lived-in science fiction. A timeline with as much grime and rust as there was polish. The Alien universe took that a step further. Dark, foreboding landscapes set the stage for the entire saga, leaving little for visual indications of hope or peace. H.R. Giger’s monster lives on in Alien 3, David Fincher’s directoral début.

Leading in, a credit sequence pays homage to classic Alien title sequences and the suspense. As credits creep in, interstitial flashes of doom appear before our eyes. The survivors of LV–426 are not safe aboard the Sulaco. Not in the slightest. A breach is made in one of the stasis pods, resulting in an ejection of an EEV and crash landing on Fiorina 161, a planet affectionately referred to as “Fury” for its horrendous weather conditions and historically violent tenants. Fury is a prison planet, where the prisoners are men and Ellen Ripley is yet again the sole survivor of an alien attack.

Visually, Alien 3 makes for the most interesting yet. The use of light and shadow that makes for a suspenseful Alien movie was taken multiple steps further, set up in beautiful shots. No longer are we confined to labs and space freighter corridors. We’re treated to tunnels, scrap heaps, and slimy vaults.

The production of Alien 3 began as Fox pushed filming forward after numerous delays and without a completed script forfeiting ideas that never came to be included. One, by William Gibson, who envisioned a space station-shopping mall hybrid where Hicks played the lead while Ripley remained in a coma. Another, by John Fasano and almost-director of the film Vincent Ward, opened on a monestary-like satellite with beautiful and ornate wooden features. These and several more scripts were thrown out, leaving behind only traces of their story in the world that we see on film today.

The best of the final product is not found in its story, but in its cast. From movie legend Charles Dance to eighth Doctor Paul McGann–as well as returning favorites Lance Henriksen and Sigourney Weaver–the people inhabiting Fiorina 161 are often the most intimidating creatures on screen. The inmates maintaining the derelict refinery are cold, vile, and–despite their religion and wish for harmony–violent, angry beasts with no idea what they’re up against. Yet, we’re rooting for them. We’re not with them, per se, but in this fight, we’re certainly on the same team.

“In an insane world a sane man must appear insane.”

Golic, played by Paul McGann, is a minor character with a profound purpose. A sadistic woman-killer who is an outcast amongst his prison peers finds something in the monster that strikes his fancy. Unlike Weyland-Yutani, Golic idolizes the monster for its depravity and terror—not its use as a weapon. This is terrifying. If there is one thing a Xenomorph doesn’t need, it’s an ally.

The monster found in this installment features a distinct variation from its predecessors. For the first time, we learn that the Xenomorph inherits traits from its host. Instead of the tiny chestburster that made its début in Ridley Scott’s feature, we’re treated with a four-legged beast—erupted from the stomach of a butcher-ready cow, suspended from the ceiling. This new method of birth, known now as the “bambi-burster” makes an already dangerous creature much more terrifying. This Alien is faster and much more agile than its relatives.

Ripley carrying the new queen was a clever twist. It’s not so much a reveal as it is a slow realization, but it provides depth and an anticipation that maybe–once the beast on Fury is dead–the fight still won’t be over. Undertones of rape play out from start to finish. Maybe that’s a bit on-the-nose with all of the rapists running about the refinery, but a decent comparison to the way the Xenomorph has forced its way into Ripley’s life in so many awful ways.

In the end, the most obvious theme that courses throughout Alien 3 is the pervasive need for something to believe in. For the inmates, God is their light, their saving grace and guide. For Golic, the monster, his “dragon” is his deity. And for Ripley? Somehow she holds onto hope. Despite her lifetime of tragedy, she clings to the idea of a universe without the beast. She’ll do anything to make that happen.

For all its faults, and through all of the hassles plaguing the film’s production, Alien 3 came out alright. The story isn’t the most compelling, but it is solid. David Fincher’s debut won’t be remembered as one of his best, but it is an underrated gem of science fiction and an appreciably salvaged entry in the saga of Alien.

More of my entries from the 31 Days of Halloween series:

• 2016: Halloweentown
• 2015: Alien 3
• 2014: Aliens
• 2013: Alien, You're Next

This piece was published at AltPress on September 15, 2015 as part of my short-lived column on morality and creativity in the music industry.

The day job: a time-consuming soul sucker that financially fuels the creative person. Many of us commit ourselves to 20 to 40 hours a week of work that can leave us creatively stifled, as well as offer little leftover time to actually pursue these artistic endeavors. Some of us dwell in this misery, while others avoid the drag by finding work they enjoy. In either case, until you can be fully supported by your art, finding the time and means to push yourself creatively hinges on the day job.

In my experience, clocking in at the beginning of a shift means that the next nine hours of my life are then dedicated to the machine. I work in retail for a great company that treats me well. I’m paid a decent sum of money, given compensated days off and a healthy discount for the product I sling. My job is like most day jobs, and I find stability in that. Within that security blanket, however, I feel smothered. It’s not that I hate the job or the people I work with—it’s the spirit of the thing. I clock in, I do my work, I clock out and—for the most part—that’s the end of it. Those 40 hours are cut out of my schedule without much of my input, leaving me with precious little time for my side hustles, creative projects and the ever-elusive social life I try to maintain.

When I’m not working retail, I’m either sending emails to press for coverage of Other People Records’ fine roster of bands or writing. This column is a result of “free time” away from my day job. For many creative types like me, this surely strikes a familiar chord. It’s hard to make a living doing what you love. So, we work around the job. Music photographer and actor Connor Feimster works two jobs, but makes it work. “I’m lucky for the fact that I rarely work nights at either job. The evenings are reserved for rehearsals and for shooting shows. Days off are used for editing and running lines. I have a pretty substantial schedule in terms of fitting everything in accordingly,” he says.

Breathe Atlantic owner Anthony Galasso has a similar mentality when it comes to promoting his clothing line after his shift as a social media copywriter. “I like to live my life thinking I have a day job with several night gigs. My day job pays the bills, so I dedicate a majority of my time to that when I’m clocked in, but I find myself working nights and weekends a lot more. I don’t mind it. If you’re truly passionate about your creative endeavors, you’ll make it work,” he explains.

I try to keep up appearances with my friends and family. That’s been especially hard lately as I pick up more and more projects, but it’s not easy to forget—I’m reminded of my absence by those people every day. In the end, I have choices to make. We all do. Bad Racket Recording Studio engineer and Envoi guitarist Steve Perrino is working hard to kick off his own recording business, Compass Audio, this fall and his leisure time has taken a hit for it. “I don’t have a social life and that’s okay. Other people are going out after work or going to shows while I’m mixing or testing new techniques. It’s a passion, so I am doing something music or recording related whenever I have free time,”

Of course, the day job and the lack of spare time it allows isn’t always a sacrifice for a creative person. While most of us toil away, bemoaning the imbalance of time between what we love doing and what we have to do, others find themselves content with their place in things. Corey Long is a father, a mobile apps product manager and a writer who recently started producing vidcasts in his spare time. “My job is definitely not a fallback. I love it and I worked hard to get to this point. Does it completely capture my inspiration and interest? No, but it is an amazing opportunity and supports my family and my other interests. I would love to have my creative endeavors supplement my income, but it would take a large amount of popularity before they could replace it.”

“My job is definitely a means to fund my creativity and my life,” explains music photographer Andrew Wells. Andrew spends his days managing the online store for CLE Clothing, a burgeoning Cleveland brand. “I’m able to pay my rent and bills, eat good food and buy records because of my job. I’ve lived as a starving artist and it wasn’t fun. It’s great to have a job that I love to keep me afloat as I continue to work to build my portfolio without worrying if I’m going to be able to eat or pay my rent,” Wells says.

Putting in time after-hours is an unavoidable part of a creative life, but doing so comes with a certain level of risk. Burning out is an ever-present danger in the working world and a lot can factor into it. For most, the day isn’t done when the clock is punched. A drive home, cooking, a few quick errands and a couple of chores at home take up even more time and expend additional brain power, leaving the creative outlet that much more difficult to do. Finding something in the work you do that can alleviate day-to-day stress build-up can be helpful and possibly even a source of inspiration for your art.

Before he burned out as a formulation chemist and compounding supervisor, Two Cheers singer Bryan Akcasu found something in what he was doing at his job that helped motivate his songwriting. “I learned a lot about my own psychology as a creative person. For instance, I would come up with dozens of formulas per week for months on end, some of which would be rejected outright, others would take several tries to get approved, while some would be hits right out of the gate. I kept a healthy, accepting attitude about it; I never took it too personally. I saw it as a process with a natural progression. I was the complete opposite with my music: perfectionistic, judgmental, insecure, ego-driven, rigid and prone to ruts. Working that job helped me see a different way to be creative with my music; a different energy to tap into when making music that has more finesse to it. Once that clicked with me, I started writing songs that the people around me really loved, that I really loved.”

There are a lot of preventative measures for burning out, but most can be circumvented by simply finding a day job that stimulates you. “I think if you have a job you hate and that doesn’t make you think, you’re just wasting valuable time,” explains Squid The Whale drummer Jon Wagoner. “If you have a job that inspires you to think creatively, you’re going to have an easier time trying to reach that creativity when you need it.”

If you find yourself depressed, unmotivated or creatively unfulfilled with what you’re doing with your life, I encourage you to think about what you love doing. A day job may be necessary to get by—at least for now—but it doesn’t have to own you. Instead, define your strengths and motivating factors and look into work that facilitates that. Doing so will positively impact your daily state of mind and keep your juices flowing so that you don’t have to put your art on hold. What you create has the opportunity to outlive you and inspire the world around you. Make art happen, but not at the expense of your sanity.

I’ve been aware of Zack Zarrillo since 2009, which is a testament to all that he had already achieved before 2011, when we met on Twitter, and 2013, when we met in person for the first time. Now, six years removed from my first visit to PropertyOfZack, Zack is shutting his namesake down. What’s wild to me is that I, like Zack, am 22 at the time of writing, in this, the year of our Lord Tom DeLonge, 2015.

Zack and I have only worked together in any official capacity a handful of times. In fact, I wasn’t published on POZ until this year. Instead, our relationship has been more a collegial one, with frequent check-ins and comparisons of ideas and workflows. I consider us friends, in the way I refer to most in my online circles as friends. It’s hard not to cultivate friendships when so much time is spent writing about similar topics on weblogs visited by roughly the same demographic.

From the start of my writing career, I selected Zack as a challenger. In a lot of ways, we came up in tandem. We’ve obviously traveled very different courses within the industry, but initially we learned and grew together, apart. We both started young, very young. If the standard starting age in the music industry is 20 or 21, we each had a three-to-four year head start on most. Call us high school kids with laptops, smartphones and quick fingers. Getting news out quickly was the goal. Much like Thomas (as he mentioned in his farewell), I too saw Zack as a competitor – an all too fast competitor. Jealousy and admiration are both accurate descriptions of the feelings I harbored towards ZZ before I figured out that none of that competitive stuff matters.

In 2012, POZ and Under The Gun Review (the blog I was running with James Shotwell at the time) joined a collective called AbsoluteVoices. We, along with Alter The Press and Punk News, “teamed up” with Absolutepunk in an effort to push the scene into a bigger demographic and make some money doing what we loved on the way. Ultimately, all of it failed in 3 months’ time. The aftermath took the shape of several years of hardship for those of us now involved with a company hemorrhaging staff and money. BuzzMedia became SpinMedia, which became SpinGroup in a whirlwind of CEO swaps, questionably legal buyouts and bankruptcy scares. It’s amazing that UTG and POZ made it out but, as of this year, they both have. James hasn’t decided the fate of UTG just yet, but this weekend, POZ dies free.

POZ has done a lot of cool stuff over the years. I was very excited for the rebrand last winter and I’ve enjoyed the new focus on commentary and long-form features. The site has played host to a number of talented writers, all of whom have bright futures beyond the blog. In the end, when Zack signs off for the last time, it won’t be the number of news posts or sponsored tours that I’ll remember. It will be the way Zack cultivated his brand and handled business, even through difficult situations. His abilities as a businessperson have developed impressively since 2009. A bright future lies ahead of Zack. His label (which gave me a bunch of Mansions records and Phantoms on wax), the fortunate roster of bands he manages and all of the future endeavors he chooses to pursue will undoubtedly be met with success due to the willpower and determination he exercises, along with his sizable skill set and ingrained passions. The blog is done, Zack Zarrillo is not.

So #RIPOZ! The run was long and the journey was good. Now Zack has time to be a little more “normal” than he’s had he opportunity to be for a good chunk of his life. Some time to learn about video games and all of those things his friends keep asking him to get into; additional hours logged in Overcast; and some quality time with his friends, family and girlfriend are well deserved.

This piece was published at AltPress on July 15, 2015 as part of my short-lived column on morality and creativity in the music industry.

A few weeks ago, a tweet by PVRIS guitarist Alex Babinski was discovered. It’s hard to establish who first dug up the tweet from 2011, but as it often goes on the Internet, there it was—retweeted, quoted, and passed around as screenshot, begging for an answer from the author, now four years older. And an answer he gave. AP reached out for comment, but before PVRIS’ publicist could reply, Babinski tweeted an apology to those offended by the tweet, stating that he had paraphrased a comedian’s tasteless joke and that it doesn’t reflect his beliefs or character. He removed the tweet in question and moved on.

As much as we love to complain about social media ruining our lives, relationships, and faith in humanity, we love to tweet our grievances about these things even more. Twitter is the world’s sounding board for social, economical and political commentary—as well as a great place to meet people who think or feel the way you do. Some people make jokes, others launch epic tirades in series of tweets, while the rest of us fav, reply, and retweet these thoughts to our own followers, spreading sentiments far and wide.

We really should give this sort of thing a second thought.

As young adults, we should all be aware of our youth and the experiences that help us grow as people. Life teaches lessons. So the more we live, the more we learn. Unfortunately, the footprints we leave behind in our younger, less-informed days remain behind, seemingly forgotten in our timelines. We hear about this in job training courses and in “we-need-to-talks” from our parents. “Watch what you say online, because anyone can read it!” Adult figures in your life drone on about the consequences you could face by using inappropriate language or sharing obscene images online, but why listen to them? They don’t have Twitter. They barely have 20 friends on Facebook for goodness sake. Spare us the lecture, right?

So, if you’re looking for examples from a more relatable crowd, look at Alex Babinski. Look at Trevor Noah, the young comedian who is taking over The Daily Show when Jon Stewart leaves. Take these people into consideration. They’ve met the consequences head on and owned up to them, but you can certainly bet they’re more wary in hindsight.

Your past is your past! If you stand by being what you tweeted in high school, more power to you. You live a more sure life than I. My high school days were cataloged well on Twitter and Facebook and features like Twitter’s search tools have certainly made perusing that portion of my life easy to do. The thing is, I don’t want that. I’ve changed quite a bit since graduating. I’ve had a few jobs, met a few people and altered my perspective on most of the issues I debated during lunch period with my friends. Knowing this, I have no desire for anyone to identify me with anything I said on just about anything from 2009–2012. As such, I’ve been cleaning.

Using Twitter’s advanced search, I’ve been able to track down a number of tweets I consider offensive by my standards today. Keywords help me locate and eliminate anything I deem insensitive, demeaning, or inappropriate for my current audience. I’m doing this because I realize that people grow, but in this state of technology and information sharing, context is easily lost, leaving you to defend yourself for things you no longer believe. Here are some steps if you so choose to cleanse your timeline.

Decide what you stand for and own what you’ve done.

Nobody knows me better than myself. With that in mind, I take responsibility for what I say and what I’ve said. I’ve shown my ignorance many times in my days online. I’ve used homophobic slurs, I’ve spoken in haste about things I did not understand; and I’ve offended people for believing in things that I did not. Simply put, I was a close-minded person that I’m certainly not proud of today. I admit to that and I’ve apologized to many I’ve offended with my ignorance. In order to be a better person, I need to distance myself from that era of my life.

Choose your keywords.

Fag, slut, douche, fuck, gay, homo, bitch, asshole, retarded. Pin down the hate and press your finger firmly down on the delete key. That stuff isn’t okay. If you feel strongly enough to use those terms on a public forum, there is probably a much better way to convey your feelings. Stop, think about it, and then explain yourself in a more thoughtful and inoffensive way. Stick by your morals, but do so intelligently and with tact. Doing so will earn you more respect from your peers and perhaps spark a conversation that will prove constructive. Whereas, your hasty words of hate would have surely been destructive. You should set the tone.

Set your editing standards.

Does it make you cringe? Delete it. Does it single out a group or individual and demean or attack them without just cause? Delete it. It was important for me to define the lines I wouldn’t want to cross today and apply them retroactively. Be harsh about it. Put yourself in the shoes of the person(s) you targeted. If you feel bad about it, excise it.

Stand by your edits.

We are all human and as such, we make mistakes. Deleting tweets isn’t a cowardly thing to do; it’s a matter of progress. It isn’t natural that so much of our lives be documented publicly in this way. Use this as an opportunity to revisit your past self and say goodbye for good. In the end, you’ll have a better web presence all around.

There are other ways to prevent people from digging up muck from your past. You could make your account private on Twitter, but that’s not good for your brand or engagement. Then, of course, you could just not tweet at all, which wouldn’t be a bad thing, but you have things to say, don’t you? The best method of self-censorship is to simply think before you tweet. Take a second after you draft those 140 characters and consider the worth of what you’re sharing. What you said can—and will be—read by someone. That someone could be a friend, family member, or future child. Don’t be the Donald Trump of your friend group; use some forethought.

In the event something of yours is found and called out. Be honest with yourself and your accusers. If you're wrong, admit to it. It's the most honorable thing you can do. If you've unintentionally offended someone, it's only right to apologize and make things right. I applaud Alex Babinski for owning up to his mistake and removing the joke swiftly and with class.

Twitter is a great place. It’s fun to meet and interact with people from all walks of life. Without it, I would have never got my start in the music business or established many of the relationships I hold dearest. Use social media to your advantage and realize the reach and impact you can have by hitting “publish.” Stay true and stay respectful. You never know who will be reading what you say.

This piece was published at AltPress on June 19, 2015 as part of my short-lived column on morality and creativity in the music industry.

I'm frustrated, and the source of my frustration is our scene. Here we have this amazing community of artists, writers and fans built by our shared love of alternative music—squandered by entirely preventable actions. Destructive things are happening that are holding us back in the public eye and in becoming decent people.

Allow me to explain…

On May 16, AltPress ran an op-ed by Warped Tour founder Kevin Lyman, a man I have the utmost respect for. In this piece, Kevin laid out his process for addressing allegations about bands he books for his massive tour. His opinions bear weight. Warped Tour is not only a staple for this scene, but the primary reason this scene exists in the first place. If anyone has the power to inspire change in this community, it's Kevin Lyman.

“People ask me what the solution is. I am not sure if it is that simple, but our bands need to have mentors, people who have been around a while, to explain what their actions can lead to. I never thought I would be in this position, but each band on my tours will spend a little time with myself discussing the world we live in, how any action they take can possibly destroy their career and how to navigate the impulses of the road and the life they have chosen.”

Lyman knows the dangers faced by those playing on stages every day of his tour. A lot of these musicians are young—very young. Some of them can't even boast a high school diploma before their first Warped Tour laminate. That's a scary thought. In a lot of cases, these youth are substituting high school or college for a music-career jumpstart at “rock star summer camp” and their actions often reflect that. Warped Tour isn't a place were you can do whatever you want, but the supervision imposed by parents and schools just isn't there. The road is long, wide and open to opportunity, good and bad.

Alcohol, drugs and sex: the holy trinity of bad decision-making. Add a dash of freedom and a lack of education to the mix and you have the potential for non-consensual sex, physical violence or poor problem-solving skills. The risk of hurting yourself or others grows exponentially with substance abuse and lack of conscience. Temptation: This is a weekly battle on the road, one that's hard fought; one that shouldn't be fought alone.

What can be done about this? Lyman laid out his plans to make changes in his second op-ed. He is inviting organizations that focus on abuse, cyberbullying, predator awareness and suicide prevention to Warped Tour. He plans on shooting PSAs with artists and industry professionals. Furthermore, he's working on a program that teaches bands how to avoid mistakes, inform good decision-making, and act properly on tour—any tour they happen to be on. These are all great steps and impressive initiatives from a man who already wears more than enough hats.

I stand with him, but I don't think pamphlets and videos are enough.

Bands need mentors. Kevin had it right from the start. It's critical that bands find someone they can look up to and call before making the wrong choice. Experience matters and until experience is gained, experience should be shared. Managers, by definition, should fill this role, guiding young adults through the world they've come to travel through their art. Some step up and do right by their bands. Others sadly do not. I hope to see more industry personnel jumping in to save the scene. We're not dying, but we are hurting.

I encourage leaders in our community to take a proactive role in the lives and careers of the musicians we support. The stakes are high, not just for young and influential band members, but for those that look up to them, as well. The world's youth are watching our bands on stages and social media platforms every single day. It's a chain reaction of influence that we need to start improving now with positive authority. Label heads, tour managers and publicists need to look at the lives of their clients from an angle that doesn't involve cash. We all make our living by selling records, but I think it's time we make musicians' lives and moral standing a higher priority. A lot of them won't make music forever. Lives and careers go in many different directions. That means the influence we have on these artists now will spread far beyond their time in a band.

Understanding that is important, but acting on it is vital.

I love our scene and the potential it has. Increasing visibility by means of events like Warped Tour and the APMAs are only going to pull us further into the public eye. This is great. It means what we're doing to support our bands is working—but I want our artists, labels and writers to be known for their work, not their misdeeds. I want us to learn the difference between supporting and enabling each other. I want us to hold each other accountable for our actions. If we can take a proactive position, create expectations and educate the faces of our scene, I think we'll be okay.

This piece was published at AltPress on June 04, 2015 as part of my short-lived column on morality and creativity in the music industry.

Growing up, those who support you most will encourage you to find what it is you love to do. From there, it’s your responsibility to make it your life. Making ends meet by means of a passion is the dream for most. So few make that dream a reality. For those that do—those who find what they are most passionate about and let it fully consume them—the task remains to hold onto the dream with a tightly clenched fist.

When I began writing my blog about music in my junior year of high school, I was 17 years old and had little-to-no experience in this world. I played trombone in my middle school band for two years and had a collection of MP3s that far exceeded that of my peers. I loved music. I was very passionate about the music I listened to, so much so that I wanted to be a part of it in any way I could. My first blog was my first step into what has become my career.

I wrote amateur reviews, think pieces and news posts about bands that had popularity in the “scene” I was most interested in: this scene. The bands I wrote about from my cell phone were the bands I read about in Alternative Press every month. I followed these groups on Twitter, I friended their members on Facebook and I explored their pasts. I learned everything I could about these them and wrapped my words around the tidbits of knowledge I picked up on, finally sending my thoughts out into the web with little expectation of readership.

Then, surprisingly and seemingly from nowhere, I found readers. That readership kept growing. Statistics were my addiction and I fed it with news posts to boost the traffic numbers I refreshed on an hourly basis. I was a rural kid with a BlackBerry bought by hard work on local farms; on paper, I didn’t belong. That all changed when I hit the “publish” button on a draft about In Fear & Faith, Take Cover, or MOD SUN. As small as my readership was at that time, I had people interested in what I had to say about bands I listened to. Bands were even sharing links to my posts about them. I was being recognized for my passion and that pushed me to work harder.

With growth in traffic, my blog’s voice diversified as well. I brought on some like-minded people to broaden our coverage and share some of the responsibilities I had. I began fostering communities around my blog and bands that we all listened to. More than ever, I was using my skills in communication and writing to bring people together. This didn’t go unnoticed: Early networking connected me to people I now call some of my closest friends while others became mentors to me. The former group landed me a position at Under The Gun Review as Managing News Editor, Administrator and Co-Owner and the latter included the founder of this very publication. These early influences encouraged me to act on my passions as I made my transition out of high school and into college, where I studied music business. For that, I’m not only eternally grateful, but also obligated to prove myself to those that believe in me most.

I spent three wonderful years at UTG cultivating what I believe is the most impressive staff of writers in our scene. These creatives have gone on to work in all facets of the entertainment industry. Some are publicists—myself included—while others are prolific writers at international publications. Still more have entered the filmmaking industry as screenwriters, videographers and popular YouTube vloggers.

Like the aforementioned alumni, I moved on as well. It was something I had to do for the sake of my sanity as my motivation ran dry. When Under The Gun was bought by SpinMedia (formerly Buzz Media) in 2012, we were promised a lot of things. Like the bad record deals you read about on band blogs, we had our sights set on change with financial backing that never came. It was quickly clear that the people in charge of our site did not have our best interests at heart. In fact, they held us back in every way possible—making it impossible to grow as a publication. I was throwing so much of myself into this dream of mine that it drained me. So I left.

(More on that in a later column.)

The next several months became a period of self-discovery. I took time away from writing to figure out my next step. I focused on the marketing agency I worked for at the time and my personal life. It was in this time that I met my girlfriend and grew closer to those that I held at a distance due to my blogging “responsibilities.” Months later, I gave it another stab by taking up an editorial job at Substream Magazine, which only ended worse. I left feeling more discouraged, unappreciated and uninspired than before. Over and over in my head, I thought about what I was actually passionate about. If it wasn’t music writing, what could it be? I thought I found my calling, but maybe not. I felt like I was following a path towards my career only to find a dead end.

Then I figured it out. Each of the roads I thought led to nowhere is actually part of the same path. This is my journey towards what I’m supposed to do. My passions remain the same. Telling stories, writing and music are the foundations of my being and I’ll never stop acting on them. The team at Other People Records saw this in me and embraced it, giving me free rein to use my interests and talents to help others as their publicist. This column is another way for me to exercise my creative muscles while imparting what I’ve learned to those of you reading it.

My articles won’t always be so lengthy but, for anyone to understand where I am in my career and what I have to say, the context is important. My story is still being written, but I want to help others begin writing their own. The first step is figuring out your passion. The next is acting on it. You don’t have to be good at what you love, but you do have to work on it. Stay creative. Stay hungry. Soon enough, you’ll make your mark.

In which I introduce Zack to Star Wars. I’ve known him for over half of a decade and this is my first piece on his site.

What is this?

Star Wars is a beloved (and presently ongoing) space opera that features charismatic aliens, power-wielding samurai, an evil galactic empire, and an all encompassing energy called “The Force” that ties it all together. In summation, it’s a story about the balance between good and evil. The series has become a vital and unavoidable part of popular culture. The creator of the series, George Lucas, sold the franchise to Disney, which has, thus far, proved to be the best thing to happen to the series since the original saga aired. Spinoffs such as The Clone Wars television series, comic books, and novels make up the universe’s canon (officially recognized as genuine and entries in the overarching story).

Where to start?

If you didn’t grow up watching Star Wars as a child, you’re at a disadvantage. That’s not to say that you won’t enjoy the films without a built-in nostalgia, but you’re more likely to look at the film for its filmmaking merits and story, which is fine. The Star Wars story has it all. It is more important that you stay open-minded. Episode V: The Empire Strikes Back is widely considered the best of the original saga, but I still suggest starting off with the movie that started it all, Star Wars Episode IV: A New Hope (1977). This movie introduces you to the themes and character of the Star Wars universe better than anything else.

If you’re tech savvy, I suggest you track down the original versions of the film. The older, the better. George Lucas made a number of changes to the home releases throughout the years that add nothing, are pretty distracting, and tarnish the feeling of the original releases. I prefer watching Harmy’s Despecialized Editions. These are extraordinary fan edits that piece together original release with the highest resolution possible. The result is an unaltered Star Wars with Blu-Ray quality visuals.

Digging deeper:
You should be able to decide for yourself whether or not to continue your descent into George Lucas’ universe after watching Star Wars. As previously mentioned, The Empire Strikes Back stands as one of the greatest science fiction movies of all time and is highly recommended. Beyond that, Episode VI: Return of The Jedi ends the initial trilogy and the story continues with two television series and a prequel trilogy.

This is a timeline of the films, movies, and spinoffs recommended for a Padawan learner.

• Star Wars (Aka Episode IV: A New Hope): Enter Luke Skywalker, our hero. Follow him and his friends on an adventure to rescue Princess Leia Organa and save the galaxy from the evil Galactic Empire and its spokesperson, Darth Vader. Han Solo, a scruffy looking smuggler co-pilots The Millennium Falcon for Jedi-in-hiding Obi-Wan Kenobi, Luke, and his two droids (C-3PO and R2-D2) with help of lovable Wookie warrior Chewbacca.
• Episode V: The Empire Strikes Back: Luke, Leia, and Han learn more about their enemy while in hiding following their first victory against the Empire. Luke begins his Jedi training with Master Yoda and confronts his deepest fears and sworn enemy, Darth Vader.
• Episode VI: Return of The Jedi: Our heroes rescue Han from gangsterous space slug Jabba The Hutt, the rebellion goes all-in on a risky mission, and Luke faces Vader one final time.
• Episodes I-III (The Prequels): Considered by most fans of the series as “a piece of junk,” the prequels still provide us with some backstory on our favorite baddie. Darth Vader’s origins are played out through convoluted story, bad acting, and uninteresting subplots.

• The Clone Wars (Television Series): One of history’s best animated series and a must-watch for any fan of Star Wars. Follow Anakin Skywalker, Obi-Wan Kenobi, and more through the best stories we’ll likely ever get out of the Clone Wars period. This show pushed the boundaries of children’s programming with mature ideas and conflicts. The subtext is more suitable for an adult to understand, which makes it enjoyable for all ages. Character building was the highlight, building personality into the prequels enemies, Jedi, and the clones themselves.
• Rebels (Television Series): Disney’s spiritual follow-up to The Clone Wars. This takes place before the events of Star Wars and follows Ezra Bridger, a Padawan learner traveling with a crew of rebels and last remaining Jedi Padawan Kanan Jarrus.
• The Star Wars Holiday Special: You can only love something when you’ve seen it at its worst. The worst is what you get with this travesty.
• Video Games: The Star Wars series has had number of great video games over the years. X-Wing and TIE Fighter were easy favorites. The Rogue Squadron series puts you back behind the controls of Star Wars’ most recognizable ships, while the Jedi Knight games gives you a stronger hold on the ground with a lightsaber in your hand. Lego has done very well with the series, but the top three are certainly the Battlefront games (a current gen successor is coming) and Knights of the Old Republic, an RPG unlike any other.
• Episode VII: The Force Awakens and spinoff films: The series continues with J.J. Abrams upcoming installment The Force Awakens (December 2015). Our favorites from the original trilogy will reprise their roles and hand the laser-sword-like torch over to a new generation of main characters. Several spin-offs from the Franchise are in development as well. Rogue One will focus on the team that stole the plans for the Death Star that made the events of the first movie possible. Two more are currently planned for the Star Wars Anthology Series.

Jacob Tender is the in-house publicist for Other People Records and freelance writer. You can read more of his writing on Star Wars, music, and technology at Curbside.Audio. Follow him on Twitter.

My late friend Justin Proper of Under The Gun Review had a running column for several years called “For The Love Of Film.” He once asked me to fill in for him when he was too sick. Our colleague Dane Sager had recently bashed the living hell out of the Star Wars Holiday Special, so I used the opportunity to fire back and come to the special’s defense.

I came up with 5 solid reasons for why the now infamously terrible CBS special wasn’t as bad as it’s made out to be. Any Star Wars fan who thinks differently might benefit from my point of view.

For The Love Of Film is a weekly column from film nerd and lover of all movies Justin Proper (and this week, Jacob Tender). Sometimes you need some help to figure out how to enjoy movies, and we are here to help! No longer will you need to fear movie night because your friends have no taste in film. With this column you will be able to love even the worst gems to ever grace the silver screen.

Hello there. Managing News Editor, Jacob Tender here. I have commandeered Justin’s column this week to respond to another Under The Gun Review column. In December of last year, film writer and What The Film?! mastermind, Dane Sager wrote a piece on why the 1978 Star Wars Holiday Special “was awful.” I disagree. Ready? Go.

The now infamous special was aired just one time. November 17, 1978. On that day, from 8 to 10 PM EST, CBS premiered what would become one of the most iconic and coveted visual pieces of geek culture. A 97 minute variety show of sorts set in the universe of Star Wars, specifically and most prominently, the Wookiee planet of Kashyyyk.

The story that weaves together the various sketches and bits is a simple one that introduced some new content to the Star Wars canon. The gist is this. It’s Life Day, the generically named holiday celebrated by the Wookiees that celebrates, you guessed it, life. Chewbacca and Han Solo are trying to make it home for the celebration, but they are being chased by the Empire’s forces, who are ticked because they helped Luke Skywalker blow up their space ship in the first movie.

Meanwhile, Chewie’s wife (Mallatobuck or “Mala”), son (Lumpawarrump or “Lumpy”), and decrepit yeti of a father (Chief Attichitcuk or “Itchy”) are anxiously waiting at home, biding their time watching things on their various screens, cooking, or visiting with their human trader friend who stops by very conveniently throughout the special.

Justin is telling me that you have more than enough backstory now, so I’m going to start telling you why the holiday special is not only good, but important to the Star Wars universe. Open minds may proceed.

1. It expanded the universe in a more domestic direction.

Although Lucas was not very involved with the holiday special, he did have plans to expand the Star Wars universe to include Chewie’s family. These plans came to fruition in varying degrees throughout the film series and officially commissioned books, comics, etc., but The Star Wars Holiday Special gave us the most “realistic” portrait of the wookie family.

2. The introduction of Boba Fett.

Boba Fett proved to be an important asset to the Star Wars mythos in the theatrical releases and a fan favorite, but what most casual fans of the series did not know was that the bounty hunter made his debut in an animated segment midway through the Holiday Special. This set up his interaction with our heroes in The Empire Strikes Back and the remainder of the series. It’s possible that the story told here will be included in the full length stand-alone feature Disney is planning with Fett at the lead.

3. James Earl Jones got credit.

The voice of Darth Vader is iconic. Scientists are currently studying whether or not humans are born with the breathy villain’s famous one-liners in memory. James Earl Jones provided that voice and he was not credited in the first Star Wars film. This remained true for The Empire Strikes Back as well. He was, however, credited in the Star Wars Holiday Special.

4. Jefferson Starship.

Who doesn’t want to see Jefferson Starship perform as a pink transmorphic blob in a futuristic hologram box? Even Dane will admit that Mickey Thomas shouting indiscernible lyrics into a neon corn dog creates a disturbance in his pants.

5. The Myth.

Before I knew how the Internet worked, or perhaps before it was even available on the Internet, I was aware of the special. I wasn’t lucky enough to see it on television due to my age and lack of Star Wars fanatic family. Still, I knew it was out there and I yearned to see it.

I am not alone in this respect. Anyone reading this column has SOME interest in the special, even if it’s just for some laughs.

There is value in the special because of the contempt had for it by those involved with its production. George Lucas famously said of the show, “If I had the time and a sledgehammer, I would track down every copy of it and smash it.” Harrison Ford joked with Conan O’Brien that he has “never seen it, but it could be nice.” Carrie Fisher was so coked out of her mind that she doesn’t even remember filming it.

There was unseen footage from Star Wars sporadically placed throughout the special, we got a far better look at some of the Cantina’s regulars, and most importantly, we still have one piece of Star Wars yet to be “corrected” on Blu-Ray.

The Star Wars Holiday Special is a horrific piece of geek history, one that will never be replaced or duplicated at that level of atrocity. Still, it deserves merit and reverence for what it was. It wasn’t all that bad.

Jacob is going to give Justin’s column back to him now. Suck it Dane. Do you want to learn how to love more Star Wars related movies? Try this column on Fanboys.

My second entry in the 31 Days series, a follow-up to last year's column on Ridley Scott's Alien. This was originally posted on Under The Gun Review.

Of all the holidays celebrated worldwide, no single day is more loved by the UTG staff than Halloween. With the arrival of the year’s best month, the time has finally come to begin rolling out a plethora of features and special announcements we have prepared in celebration of our favorite day, including the one you’re about to read.

Now in its third year, 31 Days Of Halloween is a recurring feature that will run throughout the month of October. The hope and goal of this column is to supply every UTG reader with a daily horror (or Halloween-themed) movie recommendation that is guaranteed to amplify your All Hallows’ Eve festivities. We’ll be watching every film the day it’s featured, and we hope you’ll follow along at home.

[Warning: the material within is likely NSFW]

Day 19: Aliens (1986)

Last year, we celebrated Ridley Scott’s Alien as the first true space horror. It was silent, scary, and set the tone for everything that would follow after in the genre. This year, we follow up with James Cameron’s Aliens, which is widely acclaimed as the best in the series and one of film’s greatest sequels.

Clocking in at 2 hours and 37 minutes, the special edition of Aliens is the recommended version to watch. That’s what I flipped on for what I can only guess is my 20th viewing. Seeing the title screen flash, I can’t help but think that Aliens is a misleading title. After all, the monsters introduced in the first film are not the aliens of the series. Humans are. We stumbled upon this thing in space, its home. Not ours.

The film opens on an abandoned ship, controls layered in ice. Warrant Officer Ellen Ripley lays peaceful in cryosleep with her feline pal Jonesy. She’s then found and returned to the Weyland-Yutani Corporation to find that she’s been under for over 50 years. Her 11 year-old-daughter has grown old and died. Every mother’s nightmare has come true in less than 5 minutes of screen time. Oh, she’s also fired and has her licensed pulled.

LV-426 (the planet where the facehugger first gave Kane a loving embrace) has been inhabited for 20 years by company terraformers who have seen no trace of an acid-blooded killing machine. That is, until a mom and pop surveying outfit stumbles upon an abandoned ship and daddy gets a little friend of his own wrapped around his head. Ripley is called back in.

Instead of a salvage crew, this time we’ve got Marines. Colonial Marines. They’re going on a bug hunt. They have no idea that soon it will be them who will be hunted.

The squad infiltrates the terraforming compound and finds a little girl whose family was killed by xenomorphs along with everyone else. She lets them know that they are screwed and that the monsters come out at night, mostly. This doesn’t mean much because the planet is dark 100% of the time. It’s the dark that makes the movie. In conjunction with a stillness inspired by the prequel, the blackness is penetrated only by pulse rifle flashlights and Private Hudson’s sense of humor.

H.R. Giger’s influence remains ever present in Aliens. While not directly involved, he was thanked in the credit sequence (something that can’t be said for Alien 3). The dark, grotesque landscapes set the stage for complete horror as a xenomorph infant pries itself from the ribcage of a woman adhered to the wall of a nuclear reactor. The gunfire that ensues calls from the depths several adult creatures that begin an onslaught of killings. A retreat is ordered and the team flees with whoever they have left alive.

The notable thing about this sequence is the sheer number of destroyed monsters. There is more than one this time around, but the marines have gunpowder. With ammunition lies hope, right? Wrong. They are so wrong.

Stranded and alone, the team’s dwindling numbers are faced with survival in a bleak environment with attacks from the creatures impending all of the time. They set up a command post with some turrets to thin out the horde. That works for like 30 minutes. They formulate a plan to leave this God-forsaken rock which requires shoving their synthetic human (android) into a tube to shimmy a few miles to realign a satellite dish for drop ship navigation. As a claustrophobic, that was enough to send my imagination into overdrive.

It’s subtle shots like that which remind you that Cameron is a master filmmaker. Another is the 2-second setup in the lab, showing Ripley and Newt trapped in a sound-proof observance bay with a facehugger on the loose, put there by Burke, the money-minded company asshole. Movie magic follows when the critter launches itself at Ripley after scuttling across the floor. In intense moments such as these, it’s difficult to remember that this is a puppet and not computer generated effect work.

Once the xenomorphs do come–and they come in masses–it’s a free-for-all. Some incredibly creepy shots of ceiling-crawlers pop into focus amidst the flash of gunfire. Only 3 escape, including the little girl without any weaponry. Then that little girl gets lost and Ripley goes to find her. After all, she just got another daughter. She’s not going to let this one die too. Into the hive she goes.

Newt is found, covered in that sticky excrement. Ripley fires off some kill shots and cuts her free. The reactor they are running through is now cinematically exploding. Then they find the queen. This badass is massive and incredibly scary. It’s also pooping out eggs dozens at a time. There is this subtle moment of mother-to-mother understanding as the humans back out of the nursery, then Ripley sets everything on fire.

Eventually, they escape just in the nick of time. Ripley ends up fighting the queen with a mech-suit forklift Cameron will later reuse in Avatar. The android is torn in half during the skirmish, but otherwise everyone turns out all right. The xenomorph mother is sucked out into space.

Aliens is a science fiction masterpiece. It’s not as eery as its predecessor, but it has horror in all of the right areas. The action and suspense knock you around until the very end. Leaving you wanting more. That said, I won’t be writing about Alien 3 next year. Not because I think it’s bad (Resurrection is bad), but because it’s just not that scary.

More of my entries from the 31 Days of Halloween series:

• 2016: Halloweentown
• 2015: Alien 3
• 2014: Aliens
• 2013: Alien, You're Next

This piece covered issue 42, in which I also wrote the Editor's note (read below). I was asked to do the cover story on issue 43 as well, but I passed in order to get more writers featured in the mag.

Editors Note for Issue 42:

Making changes in one’s life is difficult to do. It’s easy to become comfortable in ways set in perpetuity over the course of time. However, life isn’t pursuant to comforts and is apt to force change in unexpected ways. Life also expects the most from you. There is time and cause to evolve and make use of our talents to their full extent while we are able to use them. We should all strive to be more than what we are today.

We chose Yellowcard for the cover of this issue for all of those reasons and more. After a career spanning more than fifteen years, it would be easy for them to settle into a framework that pleases the crowd that kick-started their career. Instead, they have continued to push their sound into new frontiers. They’ve added new instrumentation to their recording arsenal and utilized other musicians like Anberlin’s Nate Young to continually progress and improve.

Life has chipped in as well. Tragedy, rehabilitation, and the welcoming of new life has breathed a myriad of inspirations into Yellowcard’s forthcoming album Lift A Sail. The result is a bigger sound, deeper lyrical content, and broken ground.

Yellowcard inspires us to be better here at Substream. We’re continuing to improve our layout and content to provide you with the quality you and our contributors deserve. I hope you enjoy this issue and the story of Yellowcard’s growth in Lift A Sail.

Yellowcard: Setting Sail For New Territory

It’s December 17, 2011. Yellowcard have landed in Madrid, Spain for the final stop of their worldwide tour with Saves The Day. After being abroad since June, it’s safe to bet these musicians are more than ready to return home after a lengthy stint across the globe. Still, there is one more show and they plan to make it count. Today is also Yellowcard singer Ryan Key’s birthday, so celebration is in order.

Sala Caracol is the venue tonight, which is not unlike any other room Yellowcard has played. It’s your standard concert hall. There is a bar, a stage, and room for a few hundred friends to crowd in and watch. Another night, another performance. It’s time to go on.

The setlist is comprised of seventeen songs spanning the last eight years of band’s career. Songs of experiences and loves past. Playing these songs tonight, Key is blissfully unaware of the woman in the audience who will soon be the inspiration for every love song he will write from this night on. His future wife, Alyona Alekhina, is there by a matter of chance, watching with a friend from school.

"My wife was snowboard training in Switzerland at the time, but was also working on her master's degree and a big part of her program was linguistics. She has a degree in the origin of language or something like that. I don’t fully understand, but she speaks fluent Spanish as well as English and Russian,” explains Key almost three years later. "She had a close friend who was studying abroad in Spain at the time as part of their Spanish track and she came to visit her that day. She got in at 6AM and had to get back to training the next morning at 7AM. She was there for literally 24 hours. They were initially planning on seeing a Spanish band that they liked, but they had the date wrong. They decided to go to our show instead.”

Call it chance, destiny, or luck, an American musician and a Russian athlete meeting in Spain within a twenty-four hour window is a rare occurrence and one not wasted. Key continues the story of the night he met the love of his life. "I met her after the show and we talked all night. It’s funny,” he laughs, “internationally, you can’t really ask a girl for her number. So I got her email address and we kept in touch for the next few months. At some point, she ended up in LA. We went on a couple of dates, and here we are now.” The couple was engaged on Christmas Day in 2012.

It’s April 23, 2013. Alyona departed Los Angeles, California the day prior to trade skate and surf for some snow on Mammoth Mountain. It had been a while, but she was eager to return to training. Poised to compete in the 2014 Winter Olympic games in Sochi for the Russian National Team, nobody could have anticipated the tragedy that would unfold that day. During a run, Alyona was paralyzed from the waist down.

"I refuse to watch the video of what happened,” explains her fiancée. "They were filming that day. As I understand it, it was a quick little thing. A lot of these accidents happen this way. It wasn’t this big crazy air. She was just coming over a little obstacle and caught an edge and flipped over the wrong way. It was more of a somersault than anything else. She just fell back really hard. She immediately knew that she couldn’t feel her legs. It was terrifying for her. I can’t even imagine."

She was immediately taken to a hospital in Reno, Nevada where she was told that there had been damage to her spinal cord and that she had, in fact, been paralyzed. On her prognosis, Key states, "It’s not as black and white as people think it is. They tell you to do the best you can and that they’ll do the same. Spinal cord injury is a thing that there is very little knowledge about. Nobody knows why a nerve cut in your hand can be replaced with nerve tissue and regrow while in your spinal column, it won’t. Nobody understands that yet and it’s amazing that in 2014 there isn’t an answer. There just isn’t. She got a rough dose of diagnoses as far as the level of injury and she was in a pretty rough category. I’m sure there have been times that their diagnoses has put a dark cloud over her head, but most of the time she just doesn’t care what they said. She’s going to keep working as hard as she can, putting in the hours until she’s walking. All we can do is believe and keep supporting her. From what I’ve been told, most people give up long before this. Most just accept it and move on. It’s amazing to watch how dedicated she is to it. She’s not going to give up.”

During Alyona’s weeks in Nevada, the couple married. She was then transferred by private jet to Denver, Colorado.

"She was really excited about going to Denver because of the reputation that Craig Hospital has for rehab. We wanted to make that happen for her. She only had travel insurance for snowboarding trips, which obviously made it challenging to figure out how to do that. She didn’t have citizenship, residency, health insurance, or anything like that. I was able to put her on my health insurance once we were married, so it was kind of a no-brainer to just go ahead and do it. So, we got married at the hospital in Nevada when she was initially treated and everything worked out incredibly. They paid for everything in Denver. It was multiple hundreds of thousands of dollars in therapy, but it all worked out.”

The wedding was a small affair. Ryan and Alyona were joined by her parents and younger sister as well as his mother and sister. The service was performed in the hospital. Not the dream, but an important event in the circumstances at hand. "It was like magical and terrible at the same time,” says the newlywed. "It was a crazy roller coaster of emotions to be on. Obviously that’s not where you want to have your wedding but, at the same time, we felt so connected. The feeling on that particular day was that we’re going to do this thing together. We were strong that day.” Key continues, "You know, it is what it is. We wish that we had a real wedding and that she had walked down the aisle, but life is a crazy journey. She is amazing and I still have her. It could have been so much worse than it was. I’m also still playing music and touring the world. The ride has been insane up until now”

Leaving a loved one who is so in need of care and support is a hard thing to do, but as a touring musician, Ryan had to return to making a living on the road and performing for the thousands of fans who needed him as well.

"It’s really hard to be away from her at any time while she’s going through this. She went home to Russia this summer while I was on Warped Tour and I think we both felt—and I don’t think either of us felt selfish for it—that she needed it. Not to be away from me, but to be in a different environment. She needed to change it up and be with her family and her closest friends. She went through a really intensive rehab program there in Russia that she was really excited about. It was a new thing, it was fresh with new exercises and new equipment. She needed that as much as I needed to get back out and working, being focused on music and touring again.”

He pauses and continues, "I think her trip home really lifted her whole spirit. Going home was such a good thing for her. Doing Warped Tour was good for me. Being surrounded by so many friends and having as much fun as we had all summer—we both needed that. Even though we weren’t together, I think we were both really happy for each other. The whole experience is such a paradox, you know? It’s black and white. It’s both things, all the time. Good and bad, happy and sad.”

Returning to the road and writing was a positive experience for not just Ryan, but the entire band. They have all done some growing up since Southern Air and have moved into new territories with their lives. Violinist Sean Mackin and his wife recently welcomed a baby girl into the world, they made the move to Razor & Tie from Hopeless Records which opens them up to new opportunities in radio, and there have also been some lineup changes that pushed them into new directions with the help of drum fill-in Nate Young of Anberlin.

Young was an active member of the Lift A Sail recording process and live percussionist during Warped Tour. With Anberlin’s impending disbandment, there has been a fair amount of interest from fans for the drummer to join Yellowcard in a more permanent state. To which Key explains, "We wish that was the case. We have from the very beginning. It was a collective decision for [Anberlin] to move on and just be home with their families. They’re starting new chapters of their lives. I know that Nate has big plans back home as far as a business he’s really excited about starting. I don’t think it’s in the cards as much as we’d like it to be, but we’re very lucky to have shared the stage and studio time that we did with him. He’s an incredible talent and he brought so much energy and good vibes to Yellowcard. It’s something I’ll never forget and he’s a friend I’ll never lose. That’s what I’m most grateful for.”

Truly, the energy of the band has changed. As seen in the live shows and the new album, Yellowcard has not abandoned so much as matured their sound. It’s difficult to categorize them as pop-punk these days, if you ever did before. With Lift A Sail, it’s more accurate to say that they have reached new heights as a pop-rock band that continues to push their potential and change things up, something Yellowcard expects will be polarizing.

“It’s like being on thin ice to talk about it,” he says hesitantly. "I don’t want a fan of our band who has been with us for however long, supporting us and providing us with opportunities to make music and tour, to feel alienated. We don’t want them to feel like we’re turning our backs in any way, but I think we have begun to move away from our previous sound. As risky as that is to say, we’re not doing what we do to upset people. We do it to make people happy and to make ourselves happy. We love writing songs and playing music as a live touring band. There is still the core of what makes us Yellowcard in this record. It’s still there. I think this is direction we’ve wanted to go for a long time. We’ve been taking the right steps to get there, waiting for the right time. That time is now."

This album, like five albums prior, was produced by Neal Avron who also has credits for New Found Glory, Fall Out Boy, Weezer, Linkin Park, Anberlin, and more. "I can’t imagine making a record with anybody else. I can’t imagine having the level of trust and creative connectivity with anyone like we do with Neal. As you can hear on Lift A Sail, he deserves due credit for how far he pushed the sound. A lot of what we were capable of on this record is thanks to him and his desire for us to head in a new direction. He’s more or less a sixth member of the band and has been for years now. It was a natural decision. We don’t even entertain the thought of working with anybody else as long as Neal will continue to make our records.”

With Avron pushing the band forward, Yellowcard was able to achieve new heights in their songwriting careers. Lyrically, Key had a large pool of life experience to draw from. "With marrying my wife, her spinal cord injury, and how insane, horrible, and inspiring it all was, I really ran the gambit of emotions over the last year. When I first sat down, I asked myself, 'What are you going to do about this. You have to write. How honest are you going to be? What are you going to reveal? How much of her do you want to protect?' That was really challenging for me at first, but once the floodgates opened as they tend to do when I’m writing a record, it all just came together and I was writing nonstop. This one scared me at first, but I got that first song out which led to the next one and they just kept falling in line. I was in a place where I was really challenged and forced to just be honest and let it out."

Musically, Lift A Sail is natural follow up to 2012’s Southern Air, with facets new to the Yellowcard discography to keep it fresh. Electronic elements flip the tone from Warped Tour stage to more stadium friendly songs. "One thing that’s not happening that probably scares people when they hear or read about Lift A Sail is the idea of synth leads. We’re not playing these weird, buzzy, synthesizers sounds as lead parts instead of guitar or violin. We’re using them to provide depth, layers, and atmosphere to the sound."

Coldplay’s exotic career also lends some influence to the album, "I’ve decided that Coldplay is my favorite band of all time. They’ve grown and evolved a lot over the span of their career. I’ve always been insanely attracted to and inspired by their melodies and the way that every single thing is so memorable and anthemic. As they’ve got into these last couple records, starting with Viva La Vida, there have been more electronic elements blending in with all of the organic elements that they still use so heavily. I got into learning about that, what they were doing and what inspired them to do it. Listening to a lot of that opened me up to all of these other programmers and people who create sounds. It was a place of extremely rad experimenting for me. I had an amazing time doing it. I hope you can hear that when you listen to the record. It’s not forced. It’s not trying to be something that it’s not. We sat down to make cool sounds and have fun blending the rock and organic elements we have with these more anthemic, percussive, programmed elements. I learned how to do all of that on the fly.”

Through these changes in sound and song structure, it’s natural to question the role of Mackin’s violin, an instrument which has played such a large role in the band’s career. Although the usage may be changing, we’re assured of it’s permanent place in Yellowcard’s music.

Aware of this concern, Key explains, “[Violin] is a very much a feature. It’s Sean. I think he might have felt challenged to find where he fit on this record at first, but then he found his place and started exploring and working with sounds. He used a lot of electric violin on this record. There are a lot of places where you may not know it’s a violin, but it is. Both we and our fans need to find a way to be comfortable with that. That is a way that Sean enjoys writing and playing and it’s a way to create sounds that you can’t get out of any other instrument. We’re going to use that going forward. That’s something that will continue to happen. It’s not going to always be 'Yep, there’s the violin.’

"There are also other instrumentations. It’s expensive to have all of them available for a record and then continue to use them, but we’re starting to venture into using them during our live shows as well. It’ll come a little bit at a time, but it’ll start with 'I want to play this piano part live.' Maybe if I need to play guitar and sing, Sean can come over and play that piano part. I’m excited about that. Not only does it expand the sound on the record, but also the show and experience for the fans that see us live.

"Sean ended up playing viola in some places on the record; mandolin, mandola, and keys as well. That said, I don’t think there is any shortage of violin on the record. Like you said, [‘Convocation'] is just strings with a lead violin over it. ‘MSK' is completely centered around a violin lead. The solo in 'Fragile and Dear' is just so gut wrenching. The violin is very present. It’s just present in a different way that makes you realize that maybe it is more a part of the record than you thought it was in the first listen."

In support of the groundbreaking new album, Yellowcard is further stirring the pot with a two month co-headlining tour with Memphis May Fire and support from Emarosa. “Like anything we’re doing we just wanted to try new things and keep it fresh you know? If you put together a five band bill of the same genre and the same thing, you know it’s safe and good and that it’s going to work out, but I think it might be interesting for a fan to come and experience two completely different worlds of music in the same night.”

With new ventures come new opportunities. Yellowcard is sure to have many of those with Lift A Sail. The first single alone has started turning heads. "We got our first radio add recently, which was huge. We haven’t gotten one of those in a long time. That means someone is interested in trying out 'One Bedroom' on the radio, which is a cool thought. If it doesn’t work out there, I’m not going to be let down. I’m extremely happy with our career where it is now and everything we’re doing and everything that’s happening for us.

"We’re now focusing on putting together a world tour in support of Lift A Sail. We still love to tour and I don’t feel like anybody has a desire to come off the road, which is, at 35 years old, a really good feeling we collectively share. Everyone’s still hungry to travel and tour. Even with babies on the way and things like that. It gets hard and wears on you and your family. So, the fact that we’re all still dedicated to it is awesome.”

Positivity plays an important role in the momentum of the band, a theme which strikes a chord throughout the record. "I think Lift A Sail encompasses the whole vibe of moving forward and taking all the shit that’s been thrown at you and overcoming it… The word 'lift' to me, in general, evokes positivity.”

Yellowcard is ready once again to show the world what makes them remarkable. With growth in both their personal lives and musical careers, Lift A Sail manages to represent all that they are and will be. A collision of new and old meet head-on to make this album the most sincere offering yet. Staples such as their iconic use of violin, producer Neal Avron bringing out the best of them, and their devotion to all that encompasses the Yellowcard name set the standard that fans expect. New elements like programming, Nate Young’s expertise, and a wealth of life experiences propel the sound in imaginative directions. These building blocks that make up the band’s existence are held together by the bonds of family, something that remains with them at home or abroad.

While he’s off the road, Ryan will be spending time with his wife and family, continually supporting Alyona’s rehabilitation. While on tour, he will rely on their support to keep him going for the millions that come to see Yellowcard play. It’s his loved ones, after all who keep him inspired.

I love Star Wars. I’d go so far as to say that I always have. I was shown Star Wars when I was still in my single digits and received my first lightsaber when I was probably about 6. That was the first Star Wars toy I remember owning. It wasn’t Kenner-made. It wasn’t official, but it put me in the universe I so loved.

Fast forward 5 years. I have a small, but important collection of Star Wars toys. These toys weren’t rare. They weren’t packaged and sitting on a shelf, protected from the sun for resale value. They were scuffed and dirty. Accessories were broken or missing. They were my Star Wars characters, actors in my bedroom plays. I grew up loving Star Wars and I still love Star Wars. I will always love Star Wars.

Add 10 years to the running total. I’m 21 years old and recently started watching the Clone Wars animated series on Netflix. I’m enjoying it immensely. The character development and storylines are filling gaps in my knowledge of characters from both generations of films. I’m a working adult back in the universe that ruled my childhood.

An email comes through as I’m starting the next episode of Clone Wars Season 2. It’s from a publicist I normally do music coverage for. She has a documentary she wants me to check out on the history of Star Wars toys. I respond and get connected to Brian Stillman, Director of Plastic Galaxy: The Story Of Star Wars Toys who sends me a copy.

The day I got the DVD, I shuffled some things around in my closet and pulled out a box. It was dusty and covered in old school binders and notebooks, but the contents were intact. These were my Star Wars toys. I popped in the DVD and started to lay out the figures on my bed.

I’ve seen a lot of Star Wars related films (full list on my Letterboxd profile), many being fan shorts or documentaries. This one is among my favorites. What you get with Plastic Galaxy is 70 minutes of interviews with those that were there. Initial collectors, memorabilia hunters, and employees of Kenner, the company that began the Star Wars toy phenomena that so dominated the industry from 1977 to 1984.

Kenner completely changed the way that children collected toys from the day the first set was (almost) available. Their marketing strategy was so sound that they were able to sell a piece cardboard in a campaign they called the “Early Bird Certificate Package.” This was the first line of toys, a certificate to mail back to Kenner in exchange for four Star Wars figures when they were finally ready. Furthermore, Kenner was the origin of the “collect them all” mentality that had parents and children coming back to stores to get the latest figure.

This persisted for nearly a decade. As each movie was released, new figures became available. Not just the popular characters, either. Creatures, droids, and other non-speaking characters got the figure treatment and sold very well. Plastic Galaxy does an incredible job explaining the different lines of toys produced over the years in the Cincinnati toy factory.

Breaking my own toys free from their carbonite-like tomb while watching made the experience that much better. The Kenner line of Star Wars toys wasn’t just a capitalist’s dream. It was a child’s dream.

What really made the toys so great was the ability to live on in the Star Wars universe while the next movie was being made. In the days of the original trilogy, there were no DVDS, Netflix, or even VHS for that matter. For most, you saw the movies a time or two in theaters, then waited for the next one to come out. In fact, Star Wars was first shown on television in 1984, 7 years AFTER it debuted in theaters and a year after the Return Of The Jedi made its theater run. Being so, it was natural to create your own Star Wars adventures in your backyard or bedroom with the toys. I fondly remember many of those adventures and so do those interviewed in the documentary.

In Plastic Galaxy, you’ll see some of the greatest collections of Star Wars memorabilia ever curated. The interviews with these collectors and Kenner toy designers from the period are particularly interesting. I learned about dozens of rare figures that never made it past prototypes. I also learned about the fall of sales in the Star Wars line after ’85 and the eventual resurgence in the 90s, when I started collecting. The information and research that has gone into the production of this documentary should be commended.

Plastic Galaxy is a must-have for fans of Star Wars and collectors alike. I’ve watched it twice and have picked up on new information both times. The visual archive of Kenner commercials, coupled with first-hand accounts from the designers themselves makes this an easy purchase.

You can purchase Plastic Galaxy: The Story Of Star Wars Toys on Amazon. It comes packed with special features, exclusive information on the Kenner Star Wars line, nostalgia, and childhood memories.

I often think about how age determines one’s interest in the Vans Warped Tour. Now entering its twentieth year in operation, the tour has supported the alternative music scene’s best for almost as long as I have been alive. Superstars like Eminem and Katy Perry made some of their first nationwide-wide rounds on Warped Tour founder Kevin Lyman’s punk-centered festival, eventually outgrowing its draw and finding success in a more mainstream part of the industry. Still, there are many others who have maintained long-term stays on summer’s hottest roster. It’s these I forget about when contemplating the worth of a tour that I find I’m starting to outgrow. One such musician is Columbus, OH native Caleb Shomo, the man behind Beartooth, Warped 2014’s hottest in hardcore.

When post-hardcore act Attack Attack! ended their six year run in 2013, Caleb Shomo had already checked out. Providing the majority of vocal work for the band, as well as services on the synthesizer for which the band was well known, Shomo decided in the summer of 2012 that it was his time to go. The band had its share of troubles over the years and controversy plagued both current and former members, leaving a haze of negativity surrounding them. He formally announced his departure in December after leaving I Am Abomination’s Phil Druyor to handle the vocal duties, an appointment that would last just 4 months before the Attack Attack! name was laid to rest.

Now, sitting groggily across from me at a table in the lower dining area of Blossom Music Center, Shomo dabs a few drops of his favorite vaporizer liquid into his device. He closes the cylinder back up with a few twists and takes a puff to ensure the job was done correctly. He’s only been awake for an hour or so and hasn’t had the chance to utilize the venue’s shower rooms, but he doesn’t seem bothered. This is his fourth year on the tour; his first with his new band, Beartooth.

After pleasantries are exchanged and smoking/recording devices are primed and lit, we dive right into Warped Tour, my host for the day and Shomo’s home for the remaining three weeks of its stretch.

"How have the shows been so far?” I ask. The man in front of me expected this question as any tour-worn musician would. His eyes are diverted to the bottle of vape drops in his hand as he responds, "They’ve been good. They’ve been fun and exhausting at times, but the shows are probably the most fun shows I’ve ever played in my life. So I’m good with it. I’m having a good time out here.” He’s not despondent as he says it. He looks like he means it.

I mention his experience on the tour with AA! and he leans back to stretch. He’s still waking up. "Not really. Honestly, it feels pretty much the same as when I left it. The only thing that’s different is that this year we’re mostly on the Kevin Says stage which we have to push our gear to every day because they don’t have a truck, but we’ve been getting moved around to different stages. It changes morning by morning.” The Kevin Says Stage is one of the smallest ones on the tour, but he doesn’t look bitter; there is an air of appreciation in his tone.

"Does the size of the stage make a difference as far as how many come out to watch your set?” I ask him, interested. "Yeah, it definitely does, but to an extent. The only thing that can get weird about the Kevin Says Stage, or any stage really, is if it’s in a really small area that can’t fit a lot of people. Everyday they have to figure out where to put the stage and I don’t know how they do it,” he shakes his head in wonder, "There are so many stages. I couldn’t imagine being a person that has to put this tour together.” His voice is starting to warm up a bit as he expounds on the efficiency of the Warped Tour’s crew. "I’ll wake up at, say, 9AM and walk out [of his bus] to find the whole tour is already set up. It’s a different breed of people, truly.”

In June of 2013, Beartooth dropped its debut LP, Disgusting, via Red Bull Records. They’ve toured in both the US and UK and are on for the entirety of Warped’s 2014 run. Still, the band is new at least in its current form. Each of the roster is a ghost of Ohio bands past, a Columbus area supergroup of sorts. "Brandon Mullins plays drums. He was in a Columbus band called The Promise Estate for a long time. My guitar player Taylor [Lumley] was in a band called Before We Forget. Both he and Brandon were both crew members for Attack Attack! for a long time. Kam [Bradbury] and Oshie [Bichar] who play guitar and bass were in a pop-punk band called City Lights and I just loved them. It’s awesome that they play in this band. A lot of good music comes out of Columbus and Ohio in general. It has a really cool scene.”

The origins of the touring band established, the heart and soul of the band remains Shomo who wrote, played, recorded, and mixed the record by himself in his basement studio. "Beartooth sort of started as a side project for me personally. I record everything for it. I write it all and play all the instruments myself. But it started out as an outlet for me mentally when I was still in Attack Attack!. It helped get my head together and my emotions under control. From there it sparked.” I can see the spark in his eyes, which are no longer looking about, but instead looking back at my own. There is a gladness about him as he recollects, "I was bored at home. I’ve been touring since I was 15-years-old, so that’s what I was used to. So I went back into it and here I am, back on Warped Tour. It’s crazy and it’s all happening very fast."

Being that Disgusting was made solely of Shomo’s mind, there is a lot of self-reflection found within it. It’s not made up of musical trends and scene clichés. Instead, you’ll get "whatever it was that I was feeling or thinking in that moment, that’s what I wrote about. I didn’t overthink it, I didn’t preplan the record. I just write in the moment and that’s what Beartooth is. I just go into my basement studio whenever I feel I have something to get off my mind and just make a song.” Not unlike his process in AA!, Christianity had its role in the lyricism for this effort as well. "In no way is Beartooth a Christian band, but I personally have my beliefs and, being that I just write about my personal experiences or thoughts on a situation, that’s going to bleed out a little bit from me. I’m not necessarily sure in what fashion it will come out. Whether it will be in a positive way or in a questioning way. If I’m writing about what’s going on in my head, that’s going to come out because it’s a part of my life.”

Production and composition can be of the same train of thought or completely separate occurrences for some. For Shomo, he has experienced both in his career as a musician and record producer. "It depends on the band. For Beartooth, it’s very much a part of the same thing. It’s like this whole two-or-three day process. It’s me going down to my studio and locking myself in there without anyone else around, writing. The engineering, the producing, and the songwriting are all part of this one thing. I record the vocals standing in my control room with a microphone and headphones plugged into my interface. I just hit the space bar and do a take. For other bands, it changes. It depends on how much they want me involved in the process. There have been times bands don’t really want any contributions writing-wise. At that point, I’m just an engineer. I’m hitting record and mixing the songs. There have been others I’ve worked with where I have a way bigger part in the writing process. We have real co-writing sessions and I get to really produce.”

There is one track on Disgusting for which the young man in front of me cannot claim full credit. The fourth song, “In Between,” was co-written by friend and collaborator John Feldmann. Feldmann is known best for his role as singer of punk band Goldfinger and producer of bands such as The Used, Good Charlotte, Ashlee Simpson, Saosin, Neon Trees, Black Veil Brides, All Time Low, and so many more. What he’s likely least known for is his A&R work for Red Bull Records, the home of Beartooth. "He’s a really good friend of mine and he’s the main reason I’m signed to Redbull.” On how they met, he recalls, "On [the] second Attack Attack! record, we did a rerelease with some extra songs. We did two songs with him. After that, Attack Attack! actually did an entire record with [him] that nobody has ever heard, but John and I stayed friends through that. He and I meshed well as writers. So, when I left Attack Attack!, he hit me up about just doing a publishing deal and being a writer with him. Then obviously, he heard Beartooth and some electronic stuff I do and he wanted to know what was going on with that. From there I wrote two songs with him for Beartooth and we used one.”

The process of working with Feldmann differed vastly from his home studio’s seclusion. "It’s fun to work with a producer sometimes. He’s the only person I feel comfortable with working on writing a Beartooth song with. He has seen me at some really high and low moments. I think he understands me a lot as a person. For me it’s really cool to come in and have that different regard from someone you trust. I’m not hitting record by myself. We’re working together. I go into the drum room to play drums and instead of saying, ‘eh, that’s good enough,’ he’s tells me I can do it better.”

Still, Feldmann only laid his gold finger on the one song from the record. The rest was handled by Shomo in solitude, often when his emotions ran at their highest. A clear indicator of that is the album’s closer, “Sick and Disgusting,” a chaotic and disturbing piece of music that leaves you feeling uncomfortable for nearly four incredibly emotional minutes. It’s as if the listener stepped in on a private moment they weren’t supposed to hear. Difficult to record and even harder to discuss now, the composer does his best to recount the session. "Honestly, it happened so fast that it’s kind of a blur. That song happened in about two hours. It started with me playing guitar to a click, on the fly. Total improvisational playing. Then I stopped and said, ‘Yeah, that’s fine. That’s the song.’ I recorded the other guitar, wrote drums to it, and added bass. The lyrics were another very on-the-fly thing. I put the music on repeat and hit record. I was in a really weird place when I did the take and it is what it is. It’s not a jammer. It’s not a song that you can’t wait to turn on when you’re in the car with your friends. I didn’t even want to put it on the record, man. It’s so personal. That was me at one of my most vulnerable stages in life. The moment was just for me. It’s not a thing that other people will understand and I don’t really care if they do or not. They’re not supposed to. That is what Beartooth is to me, to the core. It is me having a therapy session by myself in my studio. I think if I wouldn’t have put that song on there, I would have sold the record short. Which I didn’t want to do.”

As complex as the emotions and strings of thought running through its creator’s head, Beartooth is difficult to define. A mixture of influences course throughout the track listing, but aren’t so easily placed. “People ask me all the time, 'what bands influence you?’ I mean, if you just listen, I clearly love Rage Against The Machine and Billy Talent. Even pop music, old rock and roll, and punk. But when people ask what Beartooth is, I just tell them we’re a loud and obnoxious rock and roll band. That’s what we are. It’s hard to describe, but I think my inspiration really comes from the emotion of that moment. You can tell in the songs that some are aggressive while some are more reserved. Some are melodic, some have no melody whatsoever, it’s craziness and it just comes from my weird mind.”

A mind that Feldmann and the team at Red Bull Records chose to put their efforts behind in full force. "They are a very unique label and I like the way they do things. They don’t sign a lot of bands. They don’t sign more than one band in a genre, really. They don’t want to have competition on their label. Red Bull is willing to put in the effort to support the band. Whether it’s getting us to Europe to play shows for those that want to see us over there or helping us get on our feet in the beginning, they’re just the best. I know a lot of bands have negative things to say about their label, but I don’t have a single negative thing to say about Red Bull. They are genuine friends of mine. Very hard workers. They want to see Beartooth succeed. They want to see me succeed as a person.”

Watching Beartooth perform is an experience unlike any other. From the masses of teens and young adults surrounding the small Monster stage the band was assigned to that afternoon, to the additional masses of teens and young adults sprinting counter-clockwise in circles around the crowd (per the frontman’s instruction), down to the members of the swarm who made up an older minority of 30-somethings enjoying the youthful atmosphere as much as their younger show-going counterparts. Black inflatable beach balls with the Beartooth insignia dotted the bright summer sky. Sweat dripped from the faces and necks of hundreds of grinning fans simultaneously as they jumped to the pulsating basslines of the band, soaked up by the ground or a variety of distinctly branded, but equally black, band tees. Names jumped from the backs of those facing the stage. For Today, Avenged Seven Fold, Terror, MXPX, Stick To Your Guns, State Champs, Atilla, Slipknot, Alkaline Trio, a diverse collective of music fans converged for a single set lasting 30 minutes. Walls are being broken down here.

"We have elements of a lot of different types of music that people like. I love that we have diverse crowds. I feel like anybody should know that they’re safe at a Beartooth show. We don’t do fights. We don’t do violence. It’s a giant unorganized chaos. At the same time everyone is keeping each other safe for a half hour to an hour. That’s what we love. The shows we grew up going to, where we had the most fun, they were like that. It’s an emotional release, just going and losing it.” He’s smiling wildly now, "Getting things so far out of your head and stepping so far out of your comfort zone that afterwards you have a giant smile on your face and you feel great. That’s every day for me.”

In contrast, most sets at Warped have a core of highly active fans collecting in the forward-most center of the crowd. These are the attendees that form mosh pits and take part in slam dancing, a tradition of sorts at these heavier types of shows and recently banned from the tour for apparent legal reasons. The discouraging banners adorning the stages that read “You Mosh, You Crowd Surf, You Get Hurt, We Get Sued, No More Warped Tour” don’t do much to slow down the fist-swinging, air-kicking, teens who wait all year to save up and purchase tickets for the tour. Neither do the event staff in brightly colored polo shirts blankly gazing into the crowds for those who may need medical attention or immediate escort off of the premises for the sort of violence that causes more serious harm. After all, energetic crowd dancing has been a part of Warped Tour for 20 beautiful years. The banners are more of an advisory, like the stickers that cover the corners of many jewel cases sold at this very festival. Shomo shares this mindset, "When you go to a [Beartooth] show don’t stand there with your arms crossed. We’re not that kind of band. Obviously there are some shows where that’s what you do, but that’s not us. You don’t come to a Beartooth show to stand around. You come to get really involved, soaked in sweat, and have a good time.”

After Warped Tour, the band plans to continue touring. "We have three US tours lined up right now and a UK tour lined up. One of the US tours has a full Canadian leg in it as well. We’re playing until our legs fall off, but I love it. You go on tour, you miss home. You go home, you miss the road. That’s just how it is. I love being out on the road, but I do miss home. I have a wife, I have a dog, I have a house. I miss that when I’m gone, but if I’m the road and my wife comes out, I’m in my happy place. Now that we’re home (Ohio) she’s able to come out to a few shows, which is the best.”

Caleb met his wife Fleur while he was still in his first band. "She is from London, but a band called Bury Tomorrow was on a tour with Attack Attack! and she grew up with them. She came over to visit them and we met randomly in Florida. We stayed in touch and hung out when we could. When [Attack Attack!] went to Europe six or seven months after, that’s when we started dating. We’ve been married a year and a half. It’s awesome.” Having married his best friend at 21 (she's 28), I can’t help but congratulate him on his nuptials and subsequent anniversary. "Thank you, man. It's truly is a blessing to marry your best friend. When I’m home, we just hang out all the time. I can be pretty reclusive when I’m at home, mostly because I’m usually working all the time, but I get like a month and a half of just nothing after this tour. I have been working constantly for a year now, so it will be nice to have some time off with her.”

Though difficult at times, the miles between them prepared them for the future. "She lived in England for a good year and a half of our relationship. Maybe more. It was good though. It really prepared us for my being on the road. Some girls have a really hard time with that, but since the early stages of our relationship was all long-distance, we’re more used to it. That makes it easier to tour.” That’s a relatable concept for anyone who has dated long-distance or tours for a living, spending months away from home. Shomo believes distance gave he and his wife the time and space to learn about each other. "All you have is communication. You don’t have anything else. So it’s great, in a way. I’m not opposed to it. I think you really get to know somebody that way.”

Caleb Shomo is nearly a decade into his career, but his success will only keep climbing as Beartooth continues to dominate stages and people’s hearts. With thought-provoking lyricism and a passion for evoking emotional release, I expect not only the stages beneath his feet to grow, but his creative ability and art to do so as well.

This was a big one for me. As a long-time Bayside fan, getting to sit one-on-one with Anthony in the Grog Shop green room was really cool. We got coffee after.

In December, I had a last-minute opportunity to interview Anthony Raneri, singer and songwriter for Bayside.

As a fan of the band for over nearly a decade, I was glad for the opportunity to pick his brain. After confirming the night before, I scrambled to assemble an interview that 1. would provide insight into aspects of the artist’s life and career unexplored and 2. wouldn’t embarrass me in front of a long-time idol.

I think it turned out very well.

In our 30 minute discussion, we touched on Anthony’s life away from home, his wife, and his new baby girl. We talked about Cult, Bayside’s upcoming album on Hopeless Records. Anthony gives advice to young bands looking for success, ranks Bayside’s discography, and the ponders the legacy he’ll leave behind.

I’m sitting in the green room of the Grog Shop with Anthony Raneri, lead singer of Bayside. Anthony is now on a short solo acoustic tour with Nina Diaz which has stopped today in Cleveland. How are you doing today, Anthony?

I’m good, thank you.

You recently become a father, welcoming a child of your own into the world. How are baby and momma doing?

Yea about 6 weeks ago now. They’re doing excellent. We’re not sleeping much, especially now. This is my first time away since we had the baby, so my wife is doing 24 hour baby duty this weekend. Unfortunately that’s something she’ll have to get used to, you know? But the baby is doing great and everything’s good.

What is it like being a father making a living on the road?

You know, it’s tough. It’s tough. But it’s funny because touring is like my job, so it’s funny that I come to work and I actually get more rest than when I’m at home. It didn’t used to be that way, haha. My wife is jealous. She wishes she could go to work too.

Does having a family at home change your mindset when you’re out on tour?

For the past few years- definitely right now for this weekend, it’s pretty tough. You know what I mean? I’m on the phone constantly with my wife, she’s sending pictures constantly, I’m constantly thinking of what’s going on back home. But for the past few years, with touring and stuff I’m a lot less here when I’m on tour than I was when I was younger. I always half of my brain at home.

How do you think that will change on the bigger tours, with the band?

It’s just something my family and I are going to have to get used to, unfortunately. It’s made a lot easier by getting to play shows and do what I love and meet new people.

You recently wrote a letter to your younger self for Rock Sound. Apart from being a thoughtful and humorous read, there was a great bit in there about bands who come and go. Bayside is over a decade old now and still, consistently, putting out quality records. What advice do you have to younger bands who are in it for the long haul?

There are two paths you can take when you’re playing in a band and you want to make a living out of it. Every decision you make goes towards which path you’re going to be on. You could take the path of following the trend. You know, making the merch you know is popular right now. A few years ago everyone was making the cartoon shirts. Very colorful, bubbly, cartoon shirts. You can make the cartoon shirts if that’s what’s cool. You can have breakdowns in your songs if that’s what’s cool. You can follow what’s cool and get yourself on the fast track or you can be honest and cool. Every photo shoot that we’ve done, every album cover, every song, every lyric, we look at and ask “is this timeless? In a few years will we be embarrassed by this?” So you have to keep those things in mind in every decision that you make.

The best of advice that I always give young musicians is to really concentrate on your music, because it really just speaks for itself. I use Panic! at the Disco as an example of a band who wasn’t a band for very long and got very popular very very quick. Their second tour ever, they were selling out clubs this size (~250cap). They’d go out with Fall Out Boy and they were on the radio and cover of Rolling Stone within a year or two. That’s a perfect example of a band who just wrote really cool songs that people really loved. That’s a prime example that if you focus on your music and your songs, you can do it in a year. Whereas other people start a band and they throw some songs together and they think they need to go on tour. They think they need to promote online and get a record deal or a manager… All of that stuff comes later and it will be so much easier if you put some time into your songs.

So in Bayside’s career, is there anything you look back on and wish you would have done a bit differently?

Not really… There is one thing, in particular, that we laugh about all the time. It was one photo shoot we did with these targets. Shooting range targets, I think. They were behind us and Chris had some weird faux-hawk thing in the picture. We always laugh about how silly he looked in that picture and it sort of haunts him when it pops up.

But for the most part, no. Because when we do make records, album covers, or photo shoots, we try to ask “is that timeless?” and we go from there.

I just got my copy of Our Voices the other day. On it are songs by Chris Conley, Vinnie Caruana, Adam Lazzara, and yourself. The music video for your song, “String Me Along,” is really well done. How much of the creative process did you have a part in for that?

Little to none. Less than usual. With Bayside, we’re all very hands-on with everything. With that one. I met Tom Colella, who directed the video, through Rob Hitt from Midtown who put the record out. The two of them were talking about doing a video and Tom had an idea. We all hopped on a conference call and they laid out the concept of the little kids and everything and I loved it. I loved everything Tom had done, so I told him to run with it and to do his thing and to let me know what he needed from me. And that’s very rare, that’s not me or my style or my way of doing things. I really put my faith in him on that one.

The boy in the video was in Cam Newton’s Play 60 commercial wasn’t he? Where did you find the young talent?

Yea, you know I saw him the other day in another commercial too. I was like, “hey, I know that kid.” And the girl is doing more like movie stuff. She’s going to be a pretty big star, I hear. I only shot [the video] one day for like six hours. Those kids worked for like 4 days, shooting the video. One of the days I was there though, the girl (Nicolette Pierini) had just left her third callback for something and apparently she’d just gotten a role for the remake of Annie. So those kids are on their way!

Cult. Once the calling card for Bayside’s dedicated fandom, now an album title. Why did you choose ‘Cult’ as the name for this record?

When we finished the record and we listened back on it, we sort of felt like it was a discography without using any of our old songs. We felt it was a good example of where we started and where we wound up with Killing Time and everything in between. It’s almost a record where if people say “I’ve never heard Bayside before, where should I start?,” we feel like they should start here. It’s a prime example of everything we’re about. So ‘Cult’ is something that’s been with us all along. ‘Cult’ could have been something we named our discography, but I don’t see us doing a greatest hits. That’s really not our style. So we used it for this.

If notice the cover art, there are all of these little symbols which are like these little homages to our old records and stuff.

I think you had a lot of people thinking there was a greatest hits coming with those symbols. Everyone was guessing.

I’m not going to say that we’ll never do a ‘greatest hits,’ because it’s probably above my pay-grade and I don’t know if we’re in control of that or not. It might just happen one day without anyone knowing about it beforehand.

It’ll just pop up on Hot Topic one afternoon.

Right. But as far as I know, that’s not something we’re looking to do.

For a time, you could find ‘cult’ surrounding everything Bayside such as the band’s twitter handle and numerous pieces of merchandise. Then it disappeared. It almost seemed like the band abandoned the word. Was this a management call?

No, it wasn’t any sort of management call. Everyone who works for us, whether it’s management or label or agent, we’re a team. We don’t really get into business with anybody who thinks that they have any say in anything. Everything comes from the four of us, you know? Nick handles most of our merch. He’s sort of the Merch Baron. I think he just wanted to change it up, try not to do too much of the same thing. It’s a hard thing for us. We walk a delicate line whether it’s with our imagery or our music. We walk the line between knowing what Bayside is and how we never want to change that and keeping it fresh. That’s a difficult thing to do.

Tell me about the recording process. Where did you record? Who produced? What was different this time around?

We recorded the record in Woodstock, NY which is about an hour and a half north of the city. We spent a really long time working on the record, as far as writing. We wrote for a really long time. We kept fine-tuning and fine-tuning songs more than we ever have before. We’ll usually write a lot and when we get into the studio it becomes really organic. For this one, we questioned every lyric, every chord change, the length of every verse. And we did a lot of that work before hand, because it’s been three years since we put a record out. That’s a really long time for us. We’ve really been working on this record for all three of those years, as far as writing goes. Once we actually went to the studio, we only spent about fourteen days there. We recorded the record in 2 weeks.

Shep Goodman produced the record. He produced our Self-Titled record and The Walking Wounded. To us, all of the songs were playing out in a classic Bayside style. So figured it made sense to go back to Shep.

“Stuttering.” I think this will be the most universally liked on the record for many of your tenured fans.

Oh cool, thanks! For that one, I wrote it in between preproduction and the actual recording. Out of three years of writing song after song, I wrote that two days before we started recording the record. It was a really last-minute thing. We’re really nervous about that one. It’s got the ska stuff in it, which is definitely something different for us. Lyrically, it’s honest. Everything we write is honest, but maybe it’s a little bit abrasive. I hope that other people get the point.

Where did it come from?

Just the frustration of writing. Anyone who plays music- short of like Paul McCartney or somebody who’s so comfortable in their skin and is given all the lee-way he wants to write whatever he wants. He’s genius and everyone gives him praise and cuts him slack. He can play anything he wants and write about anything. But for bands like ours and for a lot of other people, sometimes you feel a little restricted by expectations. So that song is partly about feeling restricted  by expectations, but mainly it asks if I’m putting those expectations on myself and if I have more leeway than I think I do.

In the song, you talk about being “the voice of the depressed.”

That’s supposed to be sarcastic. That’s the sort of thing I come across correctly, you know? Because I don’t really think that. It’s supposed to be sort of tongue-in-cheek.

Apart from the expectations, you touch on the legacy you’ll leave behind. Let’s dig into that. Where do you see your legacy 10 years from now?

I really don’t know. I’m glad that you brought that up because that’s really the theme of the record. Killing Time came at a point where I was dealing with a lot of heartache and change in my life. That’s where a lot of our records come from. Heartache and searching for hope. This record, and through the writing of it, I lost a lot of family members. I had 3 very close family members all pass away within four months of making the album. I was sitting at my grandfather’s funeral listening to people tell stories and I was thinking of the stories I knew of him and I thought about my friends and their grandparents. You could walk into the funeral of any 80 or 90 year old man or women and hear great stories of great men who did great things. Gentlemen and veterans and heroes and great fathers, great grandfathers. And that made me think a lot about my generation and what our legacy. Are people going to talk at our funerals the way they do for that generation? So it made me think a lot. “Big Cheese” is a lot of the record is about that and so is “Time Has Come.” Even “Stuttering.” So to answer your question, I don’t know. I don’t know what my legacy is going to be, but it’s worked its way into my consciousness and I hope to build a life that’s worth talking about.

I was an avid listener to Gumshoe Radio. I really enjoyed the conversations you and Nick gave to music. The show ended sort of quietly. Why did it disappear? Will it come back?

Awesome. It was so much fun to do, but there are two pretty big problems with doing the show. One, it was like a weekly thing. We had to do a lot of research to talk about 4 or 5 different topics every week. Idobi Radio already had a bunch of shows that were doing interviews and they wanted us to stray away from just interviewing our friends. So we made it more like an NPR style show where we’re just talking. So we had to do a lot of research to talk about things for an hour. We had an hour of conversation and an hour of music. That’s a lot of work to do every week. Especially when we’re on the road. Secondly, we couldn’t put it into podcasting form because it was hard to get the licensing for the music. If it could have been in podcast form, we could have just recorded whenever we had the time to and just rolled them out. Maybe record 3 in a week and roll them out one at a time, but just doing a show almost live every week is just a lot of work, especially when it’s like you’re 5th job, you know? We’re such a DIY band, we’re involved in every aspect of our band. So we’re running everything, Nick has Born & Bred, and I have my solo career which gives me twice as much of everything (touring, merch, writing, etc.).

If there was ever a way we could do it monthly of put it in podcast form, I’d love to do it again.

Hopeless Records, the new home for Bayside, recently celebrated their 20th birthday. What are some of your favorite Hopeless releases?

My very favorite I got in 1996, and I’m dating myself now, I bought Hopelessly Devoted To You, Vol 1. I love that and I still have it. Thrice’ The Illusion of Safety was and still is awesome.

It’s been nearly 10 years since the release of Sirens & Condolences. Seeing that anniversary shows are so popular, could we see one from Bayside?

I doubt it. We’re going to be so busy all year promoting the new record, it’s not really a good time to go and do that. I also don’t know if Sirens & Condolences is the record to do that with. It’s a little self-important to decide to do an anniversary tour for all of your records, right? There are records that are important, I’m not saying that any band that does a 10 year anniversary tour is being self-important. There are definitely records that deserve that sort of celebration. I could see us maybe doing it for Self-Titled or Walking Wounded when the time comes. Those are really important records in our career and more important as far as in our community and scene goes.

I’m definitely not saying this is going to happen, but we will be off-cycle when Self-Titled anniversary happens. It’s more likely.

So, are you saying that artists shouldn’t critique their own albums?

I think you can. I critique our albums and our songs as were I rank them.

That’s interesting. Jay-Z recently surprised everyone by ranking all of his albums in order of best to worst.

Yea and that’s really cool. Isn’t that cool? I think that was awesome. It shows humility. Every artist thinks the last song they wrote was the best. I think that’s fucking naïve. It’s ridiculous. I don’t think every record is the best one. There have been times where we’re working on records and- There are songs I wrote 8 or 9 years ago that I think are the best I’ve ever written and may not have even topped yet.

Could you rank Bayside’s albums?

Yea, I could do it. I guess it would be pretty close to chronological. I do think Cult is the best. And again, I don’t always think that. I think Cult is the best. I think The Walking Wounded is the second best. I think Killing Time comes third. Then Self-Titled, Sirens & Condolences, and then Shudder. That’s how I’d rank them.

I don’t think it’s self-important to rank them. I rank them for myself because I’m human and I have an opinion. To have an opinion is one thing, but to go and celebrate it… Now you’re deciding everyone else’s opinion is your opinion. I’m not going to go throw myself an anniversary party.

Have you been to any of these 2003-2004 anniversary shows?

I don’t know if it was an anniversary or just something they did, but I saw Weezer when they were doing Blue Album / Pinkerton. That was awesome. I saw them on the Pinkerton tour the first time. It took me back. Same venue as well. I was in 9th grade when I saw it the first time. I played in New Found Glory for the first week of the Self-Titled NFG anniversary tour. Because Chad was sick, so I filled in for him that first week. I think I went to the Sticks and Stones anniversary also. As a fan, I think they are cool. When bands do them and I’m psyched on that record, I’m very happy to relive that.

Let’s cap this off with some recommendations. What have you been listening to lately? Who put out some of 2013’s best albums?

It’s tough. Nothing really came out in 2013 that blew my mind. 2012 was a better year. There were definitely records I got into this year. The Chvrches record I liked a lot and that’s really not my style at all. That’s really Nick’s style. I’m not big on that stuff. I don’t think I would like any of the bands that they are associated with, but I am kind of into that record. Like half of it. And now-a-days that’s a good record. If you like half of a record, it’s good. Last year there were records I liked front to back, but not this year.

I think the 1975 record has a some good songs on it. Also not my style, but it was good. The Ghost record was really cool. I’m a huge Michael Bublé fan as well. His record was awesome.

Thank you for your time.

This review was originally published by Under The Gun Review.

Artist: Mansions
Album: Doom Loop
Label: Clifton Motel
Genre: Crunchy Alternative Rock

When I love a record as much as I loved Mansions’ Dig Up The Dead, I feel it’s important to offer full disclosure before talking about its successor. That album hit me hard. Real hard. Christopher Browder is a songwriting savant. I’d even venture to say Dig Up The Dead was a masterpiece of emo if I subscribed to genre labeling and had any real education on the history of emo. Since I don’t, I’ll just preface this review saying that it was really great and it attached an unfortunate stigma of expectation to any record following it.

With that out of the way, let’s chat about Doom Loop.

Where DUTD was ambient and crunchy, Doom Loop is more crunchy. From track one, Mansions provide the grit you want when sanding down a hardwood desk in your garage. “Climbers,” the lead track on the album gives you some of that sandpapery goodness right off the bat. Great single, must listen.

Throughout the record, you’ll find that there are several recurring themes washing in and out of tracks. There are several that evoke a burnt-out vibe and some internal conflicts concerning life and loves. “Climbers” and “If You’re Leaving” address such fears with lines like “I’ve got nothing left to prove. No, I’m too tired to be the nice guy,” “I toss and I turn like white ash in the air,” and “I just feel so half-alive.” While “The Economist” addresses it. “And if I go away, can I ever go back, can I ever turn back? No.” A fantastic bridge accompanies this track. Finally, “100 Degrees” gets past it. “I know some days shit gets so heavy, but I won’t sing that song no more.”

Now, Browder isn’t the least ambiguous writer there is, but it’s evident that he’s had some things to work through with his position in life and where he’s to go from here. This sense of directionlessness is a more relatable concept than most. One that any creative individual will wrestle with at more than one point in their career. Is what I’m doing worth it? Can I be happy doing this forever? Am I even happy doing it now? Good questions make good songs. “The Economist” is one of Mansions’ best.

In comparison to its predecessors, Doom Loop is a cool autumn day with a hint of blue skies peering through. The dark clouds and bruises of past experiences have faded away, leaving a wiser and more experienced entity. Everything screams “I’m done taking life’s shit. I’m in control now.” Songs like “La Dentista” touches on dishonesty while “Two Suits” brings up the elephant in the room, put there by a person hiding behind an honest facade. A brutal call-out. Nobody is pushing Chris around anymore.

If your unbridled sadness still yearns for a song about heartbreak, “Out For Blood” is your key track. The heaviest by far. If you’re just out of college and living with your parents in your old hometown, “Last One In” is going to hit you in your blood-pumping soft place too.

Doom Loop isn’t what Dig Up The Dead is to me. It’s something completely different. It’s new conflicts, new fears. It’s every bit as impressive and thought-provoking as its predecessor. Doom Loop is a masterpiece in its own right. Now, if we could just get an acoustic version of this record too…

Score: 10/10

This interview comes with a little background story.

At the time, I had recently started talking to a girl who had a few mutual friends. She liked music, so I though it would be cool to take her to a show. As it happens, her favorite band at the time was Mayday Parade—the headliner for the GK Tour, for which I was on the guest list for the interview below. So we made it a date.

Because I got us into the show, she volunteered to drive. She showed up to my house over an hour late in a car I can only describe as terrible. The ceiling fabric was detached in such a way that I either had to hold it above my head for the duration of the drive or simply would not be able to see the road or my date.

We walked into the House Of Blues in Cleveland just as the opening band ended their set, this being the band that put us on the list in the first place. I felt very bad about that. The plan was to interview them prior to the show and we completely missed that window. Giving them time to clean up and load out, I watched the majority of Cartel's set before I made my way backstage to chat with the group, leaving my date to watch the headliner on her own.

The interview went well and we chit-chatted for a few minutes after before I remembered I had someone waiting for me in the venue. Returning to the show room, I found my date (and my ride) on her third free drink, courtesy of the bartender.

Mayday finished playing before I guided her back to the car and took the keys. I nervously drove that junker home, holding the ceiling fabric up the entire way.

To my recollection, there was no second date.

On October 30, 2013 in Cleveland Ohio, Editor Jacob Tender attended the GK Tour featuring Mayday Parade, Man Overboard, Cartel, and buzz band Stages & Stereos.

After enjoying Cartel’s set for the 3rd time this year, he pushed his way through a vicious crowd of Tumblr-addicted Mayday Parade fans and meandered backstage to the supporting band’s greenroom to find Stages & Stereos who agreed to have a little chat.

Let’s start with the basics. Your name. It’s a Bayside reference, right?

Daniel Lancaster: Yes. That was one of Ian’s ideas. “Storming Stages & Stereos.” (from “They Looked Like Strong Hands”)

Ian Edge: Anthony Raneri is a brilliant lyricist. I’ve always been really partial to lyrics and I’ve been drawn to Bayside because of that.

Daniel: Ya, I’ve been listening to Bayside for around a decade, so it’s definitely cool that we got our name from that song and that band.

Zach Schwiezer: I think a big part of this band is strong, thought-provoking, emotional lyrics. So taking reference and ideas from a lot of those old school records- During that time period there were a lot of cool lyrics coming out, you know? That was a big inspiration back in the day.

Have you talked to them about it? Do they know?

Band simultaneously chimes in with “no.”
Daniel: I’ve played like two shows with [Anthony] when I was in an older band. I didn’t talk to him. I talked to the other guys in the band, but I definitely never brought that up.

Being the opening band, you obviously have a far shorter set than some of your tour-mates. How do you go about selecting songs for the setlist? (New vs Old)

Zach: Well we really wanted to start pushing the new record. It just came out a month ago, so that was a big deciding factor. We’re presenting our new sound and right now we have this massive outlet to present our new sound, playing in front of this many people every night. So that’s why we chose a lot of our new songs. We’re playing 4 new ones and 1 older song because we want our new material to be heard by as many people as possible. And when a record comes out we can usually gauge which are hitting most with the fans, so that goes into it too.

Daniel: We’ll get a tweet every now and then that says “Why aren’t you playing older stuff?,” but that’s once every week. It’s not the end of the world, there isn’t a horde of angry tweets coming at us about it.

While we’re talking about the EP, tell me about it. How did the recording process go? Where did you record?

Daniel: We wrote the record in a Tallahassee warehouse. We boarded ourselves up in there for quite a while and just wrote constantly and demoed. Then we sent those demos in to Zack Odom and Kenneth Mount and we recorded the record with ZK Productions in Atlanta, Georgia. We spent a week on pre-production and by the end, the songs came out so much different than we had originally demoed them. The meat and the heart of the songs were still there, but we just let them produce. We’d let Donnie go do his thing with them, then Zach’s turn or Ian’s turn or my turn. We’d each do our own thing, rather than have the weight of 4 or 5 members just crushing you. It was a really personal recording process.

Zach: Zack and Ken were my producers to ever work with. I love the idea of a team mentality. I love how they bounce ideas from each other and the positive energy was massive. That really helps us be creative and free. I would recommend them to anyone on that alone. They were so nice, encouraging, and fun to work with. We never ran into a problem that we couldn’t fix in 10 minutes. No animosity or drama, it was just smooth. It really made for my favorite record that I’ve ever been a part of.

Daniel: Like he said, there was a ton of positive reinforcement. If we did a take they didn’t like, they would just say “alright let’s do it again.” They wouldn’t be like “that was terrible,” instead it was “Let’s go again, but this time try this.” It was great. I would go back, for sure.

This is your first tour without Austin as your guitarist. Alex Reed (formerly of Go Radio) is filling in.

Zach: We technically did an acoustic run a few months back, about 7 shows. Austin wasn’t on that tour either.

Daniel: That was when Alex first dipped his toes in the water.

How has it been with Alex on the strings?

“It sucks.” “it’s terrible.” “horrible.”

Alex: Oh, come on guys!

Daniel: In all seriousness, we’re tighter than we’ve ever sounded. We look great, we sound great, and we’re on tour with one of our best friends. There’s not BS.

Zach: We’re the best we’ve ever been. And as far as morale goes, everyone gets along so perfectly. It feels natural, like it’s been happening for years with Alex, which is fun and rare.

Daniel: Everyone has a nickname, he gets all of our jokes. (motions at Alex) Now shoo so we can tell him what we really think.

Will he be a permanent fixture or is this a temporary fix?

Daniel: Right now it’s a temporary thing. He’s touring with us, he’s playing with us live and we’re just taking it day by day, step by step.

Donnie: You can’t just walk into Stages & Stereos.

Alex: That’s fair!

You have several EPs out now, but no full length. Is there any particular reason for that?

Daniel: Honestly, we are a completely independent band. We have management, we have PR. We have a good team behind us, but we call the shots and do what we feel is right for the band. We also have a budget to work with and we can’t afford to spend $15-20k on a record and at the same time wait 2 years to put out a release. So what we do right now is tour as hard as we possibly can on a record until things start to die down, then we make another record. We want to keep the buzz alive and strong, keeping momentum up. I’m not opposed to putting out an EP every year instead of a record every two.

Zach: It’s a strategic effort on our part. We’d be willing to make a full length, but the time hasn’t come for this band to make one. We’ll get there though. We have the songs.

Daniel: We have an arsenal of songs. We wrote maybe 12 songs for the EP, but we’ll stay on this cycle just like any other band has their own cycle. This is ours for now until bigger and better things come along.

How is life on the road? We know Ian’s injury must make things difficult for him. How is he coping with that?

Ian: It has it’s hassles. I lost a leg in Afghanistan. Showers with seats are pretty convenient because you don’t want to sit in everyone’s foot water like you’re taking a bath. That’s probably the biggest inconvenience. The guys are good about helping with load out too, so that’s less wear and tear on me. I have to charge my prosthetic. That gets annoying. Sometimes it’ll die and I have to peg-leg around.

Daniel: He’s been a trooper. He doesn’t complain, he takes care of business, he plays well every night, he parties. We have a good time. To me, there’s no difference. He handles it like a champ. Half of the time, maybe even 90% of the time I forget about it until I realize he’s a hero.

How’s the GK Tour going, thus far?

Donnie: We’re two days away from half way I think. It’s been crazy. All of us grew up listening to Mayday Parade and Cartel and I’m a big Man Overboard fan, myself. Alex and I were talking about it earlier. We’re loading up every night and we hear Cartel playing and we share a dressing room with them, so it’s hard not to fanboy sometimes. Everyone is really cool on the tour and the bands are amazing.

Zach: The diversity on this tour has been really interesting. We have different sects of bands and sounds and it meshes together really well.

We recently talked to Benjamin Wentworth of the Heavy Empty/Midnight Matinee who filled us in on some of the friendships between Tallahassee bands. How has it been touring with your pals in Mayday Parade?

Daniel: I’ve known that guy for years and you know, it’s like what we do at home. We hang out every night. When we’re home, there is a lot of hanging out together. Everyone has their obligations and their busy, but that doesn’t mean we don’t meet up at the bar at the end of the night or wherever we go. It’s comforting to be on tour with a group of people that I’ve grown close to over the past 7 or 8 years. Especially with Mayday being the headlining band. They’ve taken really good care of us. If we jumped onto a tour with a massive headlining band who didn’t know who we were, I’m sure the accommodations would be a lot different. These people care about us personally, so I’m that makes a difference. It’s great for our first big appearance to have people like that watching over us.

How do you perceive the Tallahassee scene (or the Florida scene in general) now in comparison to when you had your start? Do you feel it’s progressing or faltering?

Daniel: It’s changed a lot.

Zach: For sure. It’s because the bands have grown into nationwide touring bands. So their not all playing the same venue on Friday night. They’ve done bigger and better things. That sort of separation has changed the scene for sure.

Daniel: Tallahassee is waiting for its next Rick Ross or T-Pain.

Zach: There are new bands cycling in and there is still a scene that we’re very much a part of that’s really fun.

Daniel: When we headline there we have a group of bands that make up the same lineup every time. There is a band called the Disconnect that we play with constantly and they’re great dudes. They’re a good band and they deserve to get up there. There another band called A Man Out Of Me that we play with as well. Solid Gold Thunder… It’s the same clique.

Zach: That’s because there aren’t really that many bands. It’s not as big as people think, it’s a really tight-knit community.

Daniel: We all take care of each other. It may not be as hot as it was in 2006, but we’re bringing it back.

Being “Small Town Favorites” Do you feel the need to move to a bigger market (NY or LA for example) to “make it,” or is home what’s best for the band?

Daniel: There’s no reason to hide where we came from. I don’t want to pretend to be from Los Angeles or move to a bigger market. We’re doing national tours right now. Why do we need to move?

Zach: I think it’s a relatable idea. There are so many people in smaller areas. We come into contact with so many people that don’t live where we play. They drive 3 hours to where we play because they come from a smaller town that nobody comes to. So, it’s a theme that reaches a lot of people and it works for us.

Daniel: I won’t ever leave Tallahassee behind me as my hometown.

Zach: Well I want to move to New York, but Tallahassee will always be our home.

You’re touring in support of your EP, Small Town Favorites now. What are your plans for the remainder of 2013 and the New Year?

Daniel: To tour as much as possible. Touring in the winter is rough. It’s hard to find a good supporting tour where we could open or provide direct support, but we want to be on the road as much as possible, staying on the cycle we talked about.

Lastly, we want to know who you’ve been listening to lately. Any recommendations?

Donnie: King Krule and Frameworks

Daniel: The 1975 and Lorde. Not the single, but the record.

Zach: Honestly, I’ve been listening to the Backstreet Boys ‘Greatest Hits’ over and over again.

Daniel: He’s studying.

Zach:It’s a weird season of my life where I love the Backstreet Boys again.

Ian: Alex showed me a band called All Get Out. I still need to get their records, but the few songs I’ve heard I’m hooked on right now.

The Lorde album was very well written.

Daniel: Zack showed me that actually. He showed me the 1975 as well.

Zack: That’s my favorite band. They are everything I want in a band. Literally every single thing they do makes me think “that was perfect.”

Thank you Stages and Stereos for the chat.

This year, I wrote two entries for 31 Days of Halloween. In addition to my love letter to Alien, I also wrote about one of my favorite home invasion flicks, You're Next.

Of all the holidays celebrated worldwide, no single day is more loved by the UTG staff than Halloween. With the arrival of October, the time has finally come to begin rolling out a plethora of features and special announcements we have prepared in celebration of our favorite day, including the one you’re about to read.

31 Days Of Halloween is a recurring daily feature that will run throughout the month of October. The hope and goal of this column is to supply every UTG reader with a daily horror (or Halloween themed) movie recommendation that is guaranteed to amplify your All Hallows’ Eve festivities. We’ll be watching every film the day it’s featured, and we hope you’ll follow along at home. If you have a suggestion, contact us and we may include your favorite scarefest in an upcoming column!

Day 18: You’re Next (2013)

One of the most recently released on this year’s ’31 Days of Halloween’ is You’re Next. For nearly two years, it was one of the most anticipated films by our staff as well. Having been shown at just two film festivals in September of 2011, the masses had to wait 2 full years to see the movie in theaters. A wait that raised expectations to an intimidating degree.

You’re Next is a home invasion movie through and through. Unlike recent stabs at the genre like The Purge, this Adam Wingard feature begins in a home and brutally ends in a home. I’d venture to say it’s the most bloody of its kind in the past decade. In most cases, a good home invasion movie, or horror in general, kicks off during a moment of respite. You’re Next writer Simon Barrett flips that trope on its head and instead kills off friend Ti West’s character during a full-blown argument during the unexpecting family’s dinner. From this point on, it’s a barrage of attacks, killings, and running from a cast of masked killers.

As the film goes on and family members are eliminated, the main character is revealed as a former survivalist community member, armed to the teeth with know-how and booby-trapping ability. The last 30 minutes is basically a fucked-up version of Home Alone. In my opinion, that’s what a good home invasion should be, a fucked-up version of Home Alone.

This is further illustrated in what I liked best about You’re Next. I loved that dream-girl Sharni Vinson’s character is fully enveloped by her self-defensive kills. She doesn’t simply break a killer’s leg and flee, she follows through without mercy, bashing in the skull of her attacker with a meat cleaver. These moments are pure brilliance.

You’re Next is exactly what I wanted it to be. It’s that perfect blend of horror, action, and comedy that I want to drink for breakfast every morning. From first kill to final blow, Barrett and Wingard show everything they’ve got and solidify their role in modern horror.

More of my entries from the 31 Days of Halloween series:

• 2016: Halloweentown
• 2015: Alien 3
• 2014: Aliens
• 2013: Alien, You're Next

This was my first entry in the 31 Days of Halloween canon. Because I didn't write anything for the series in 2012, I contributed a second piece on You're Next as well.

Of all the holidays celebrated worldwide, no single day is more loved by the UTG staff than Halloween. With the arrival of October, the time has finally come to begin rolling out a plethora of features and special announcements we have prepared in celebration of our favorite day, including the one you’re about to read.

31 Days Of Halloween is a recurring daily feature that will run throughout the month of October. The hope and goal of this column is to supply every UTG reader with a daily horror (or Halloween themed) movie recommendation that is guaranteed to amplify your All Hallows’ Eve festivities. We’ll be watching every film the day it’s featured, and we hope you’ll follow along at home. If you have a suggestion, contact us and we may include your favorite scarefest in an upcoming column!

Day 6: Alien (1979)

The year is 1979. One of science fiction’s greatest directors has just released the most notable space horror of all time. Alien has bursted its way onto the silver screen with full force.

From the start, Alien wraps you in an eerily silent sense of suspense. Slow camera movements and a muted soundtrack guide you through the halls of the space vessel Nostromo. As the crew awakes to find an off-course recon mission on their itinerary, suspense grows, ever-mounting, until the infallible John Hurt (Kane) is brought back to the ship with a parasite in tow. It’s attached to his face.

The face is the most vulnerable part of a human being’s identity. Facial expressions convey emotion and meaning far more than body movement or speech ever could. Masking this with a crab-like space creature of unknown origin is quite possibly the most frightening and emotionally predatory concept ever conceived in horror history. If the Facehugger isn’t the poster boy for practical effect monsters, perhaps it shares the role with its offspring, the Chestburster.

This creature’s début is one of legend. During the first moment of joy since the crew awakened from Cryosleep, the Xenomorph chooses to rear its ferocious little head, tearing through the abdominal skin of the Facehugger’s once-host. In the making of the film, it’s revealed that the majority of the cast was not informed of what was to happen in this scene. This allowed the actors’ true reactions to be captured on film. The screams Lambert issued were quite genuine.

The practical effects used to bring H.R. Giger’s creature designs to life were inventive and extraordinarily convincing. The Facehugger in its egg was imitated by a chicken breast and its underbelly/insides were made up of oysters. The Chestburster used a complex RC puppet, that while a bit corny by today’s standards, proved effective for its time. The head of the adult Xenomorph was also a system of remote controlled parts, ingeniously assembled into a terrifying array of teeth, glistening gums, and a lightning-fast second set of jaws.

What remained of the 117 minute film consisted of a chase throughout the Nostromo. First tracking the beast the killed their comrade(s), then fleeing from it to escape the same fate. The rate at which the creature grew was staggering and intimidating. Its ability to stalk and prey on the crew in unfamiliar territory made it a dangerous and unexpected foe. Tight spaces, darkened halls, and blaring alarms quickens the heart rate as each of the crew are hunted down, one by one. The bodiless MU-TH-UR counts down a self-destruction protocol that cannot be reversed. Jones the cat provides some feline empathy to keep the viewer compassionate and caring while a fully-grown Xenomorph is on the loose, eager to kill.

Alien set the precedent not only for space horror, but creature-based horror as well. H.R. Giger’s monsters inspired multiple films, spin-off adaptations, and effects designers for years to come. The ripple effect has yet to fade and neither has director Ridley Scott. His contribution changed my life and love of film as well as countless others.

More of my entries from the 31 Days of Halloween series:

• 2016: Halloweentown
• 2015: Alien 3
• 2014: Aliens
• 2013: Alien, You're Next

This review was originally published on Under The Gun Review.

Artist: The 1975
Label: Dirty Hit/Polydor Records (UK) Vagrant Records (USA)
Genre: Pop, Rock, Indie

Talkhouse, Drive Like I Do, Bigsleep, The Slowdown, The 1975.

Once a name finally stuck in 2012, The 1975 officially started their ascent into online buzz aboard the hype train, traveling at full speed.

To mark the speed at which they rose to their current state, the band released 4 EPs in the span of about a year. Each unique in their own respects, but as a whole, quite continuous. Making shuffled plays of their catalogue an ever-changing, but pleasantly transitional experience.

2012 was unquestionably good to the band, but 2013 promises to be better. Finally releasing their début full-length record, the world has held their breath for what promises to be one of the most profound UK releases in the past decade. Does The 1975 stand up to the hype? I believe it does. As a cohesive unit, the songs flow effortlessly from one to the other, evoking any number of emotional responses along the way.

Like culinary professionals baking a cake, The 1975 masterfully craft their sound layer by ambient layer. Strokes of guitar and resounding percussion pile atop each other, climbing to reach the soaring heights of Matthew Healy’s indistinguishably creamy vocals.

Taking queues from numerous 1980s pop and rock outfits, the 1975 delivers a luscious album that resembles a John Hughes soundtrack; endearing and thoughtful with a heavy dash of wit and sexually charged charm. Filling the melodic void – normally filled with synth in modern indie pop – with guitar breathes new life into a batch of youth accustomed to pounding bass and cheap hooks.

Familiar favorites, from the EP era of the band’s already impressive career, fill out the first half of the record. Former singles “Sex,” “The City,” and “Chocolate” act as appetizers and cocktail drinks at a dinner party. They warm up the taste buds and get everyone chewing. The host supplies these familiar offerings (re-recorded and brightly polished) before serving up an exquisite main dish, which arrives to the table after track 5.

A palette cleansing “Talk!” and “An Encounter” lead off. They’re smooth and inviting. The guests start chatting among themselves as the meal is set on their place mats. It’s when the first bites are taken that the real flavor kicks in. “Heart out” is a pulsating 80s salutation, soundtrack ready. “Settle Down” follows suit with canonized vocals, reverberating and wide. Spacious are the drums as well. Phil Collins might even double-check his pockets upon hearing the expansive and dry bass drum and snare. Each hit dissipates softly into the air before being abruptly stopped by a well placed gate. Like a bite of buttery risotto with a soft sampling of baked Halibut.

Ballads such as “Robbers” provide even more depth to the meal. Here you start to notice the shallots and clove garlic’s subtle offerings. You almost proclaim your compliments to chef, but you first try out the asparagus shoots with tomato-lime base and your taste-buds start to dance. “Girls” kicks in here.

Some conversation kicks in at the table. “12” plays softly in the background. As that fades into “She Way Out,” you wipe up the rest of that tomato-lime sauce with grandma’s infamous swedish bread and return to the conversation where everyone is looking visibly full from such a meal. Your host assures you it’s not over just yet.

Dessert comes out from the kitchen. “Menswear” resembles a tuile cookie, it’s light and creamy, but stuffed with fruity strawberries. You wash this down with the glass of milk provided to you and search yourself for the second wind you’re going to need to enjoy the cheesecake coming your way. “Pressure” is right.

You got it down easier than you thought, but there is no way you can eat another bite. The table seems to agree. You’ve never had a meal like this before in your life.

The 1975 is a full-course meal. It’s experimental and draws influence from dozens of sources. Ambient R&B washes together with indie-pop/rock in your mouth, leaving a spectacular after-taste. You ask your host for a take-home bag for your lunch tomorrow. You’ll want this again tomorrow.

Score: 9.5/10

Buy The 1975 here.

This review was originally published on Under The Gun Review.

Artist: Parachute
Album: Overnight
Genre: Pop, Rock
RIYL: The Cab, A Rocket To The Moon, The Summer Set

In 2009, a band from Charlottesville, VA called Sparky’s Flaw changed their name and released an album called Losing Sleep. I borrowed this from my public library and subsequently listened to it a number of times, only to move past it and all but forget Parachute.

Come 2011, Parachute releases what would be my favorite album of that year. The record was called The Way It Was and I wrote way too many words about it.

Now it’s 2013. Overnight is now available in stores and for the past two weeks, I’ve been trying to find where I land on it. It’s somewhere in-between nostalgic expectation and new-found appreciation for creative expansion.

Whatever you call it, it’s good. The album is very good. It matches the sincerity of The Way It Was and adds new flavors to the mix that are surprising and welcomed.

The record starts off with “Meant to Be,” a grooving anthem with a 7 word chorus. It’s simple, it introduces all of the nuances that makes Parachute who they are to new listeners and reminds old fans that they can make a romantic pop song with total ease.

A drum kit and a synth keep the groove moving with “Can’t Help.” It’s snarky, it’s ambitious, and it’s got attitude. Its follower, “Drive You Home,” sounds like a piece of One Direction material cut into the shape of Parachute’s form. It’s single material.

“Hurricane” is one of my favorites on the album. I’ve always been a sucker for the slower jams from this band. Songs like “American Secrets,” “Forever and Always, and “Kiss Me Slowly” really drew me in and I’m glad to see them sticking to a formula that clearly worked for pop listeners like myself.

The title track, “Overnight,” is vast and the most unique song yet. Phil Collins drums pave a war path for the wailing and flanging guitar that rises ambiently out of a steady bass bed. The sound here was totally unexpected and my hats come off to the steps they’ve taken in their musicianship, displayed most prominently here.

It doesn’t stop there either. The next song, “Didn’t See It Coming,” is an odd mixture of genre and influence. It starts with a story-telling bit that might be most closely comparable to the bridge section of Big and Rich’s “Save A Horse, Ride a Cowboy,” as a modern example. It’s a masked 60s throwback with some good old fashioned attitude. Then the pre-chorus chimes in to warm up the repetitive and totally infectious chorus. More prose. More pre-chorus. More chorus. Then Chris Brown. Well, not quite. The bridge is channeled from the sound of modern teen R&B a la Justin Bieber, Justin Timberlake, and the aforementioned woman-beater. The song isn’t violent though. It’s eclectic, but it’s inventive and sure to get you moving.

If “Didn’t See It Coming” was the climax to the album, “The Other Side” is the natural fall that slopes towards the album’s close. A beautiful ballad with well written personification. “Waiting For That Call” is less abstract. This one is a pulsing composition well matched with the more theologically based “Something To Believe In” from their previous record. It’s loud, it’s proud, and features an ambitious bridge that carries into the final round of its unquitting chorus.

“The Only One” is gorgeous. I wish that physical advances were still prevalent for songs like these. The writing and musicianship is so phenomenal on this specific track that I want to know exactly who is responsibly for its existence. If the band wrote this themselves, it’s a great and mature addition to their already solid catalogue. Stunning.

Coming down to the last two songs, I almost found it hard to believe the last song wasn’t chosen for the closer. That said, “Disappear” is written for that very purpose. Piano and acoustic guitar provide the mattress for Will Anderson’s ever elegant vocals to lay on. Tumblr macros will thrive from this song alone for months. Plenty of romantic quotables to be had.

“Wait. I thought you said ‘Disappear’ was written to be the closer?” Yea. I did.

“Higher” doesn’t fit. Better advertised as a bonus track, this adds a stadium anthem remix sound at the cost of ruining the natural flow of the record. I think they were going for an uplifting end, but it doesn’t work for me. It’s not a bad song. It just has bad placement.

As a whole, the album meets my expectations. The bar was set high with The Way It Was, but this adds to their sound in a welcomed way. I’m eager to see how the reception and sales turn out. Parachute have everything it takes be the big thing on pop radio. I hope that’s seen by those to whom it counts.

Buy Overnight here.

Score: 8.5/10

This review was originally published by Under The Gun Review.

Artist: Late In The Playoffs
Album: Alive and On Your Own
Genre: Pop-punk
Label: Unsigned

Late In The Playoffs’ new album, Alive & On Your Own, is a huge step in their progression as a band. Aaron Goldschmidt is now sharing more of the vocal duties with guitarist Conor Pagé, providing a rich contrast throughout the record. Instrumentals feel much richer than before and the lyrical content is noticeably heavier. This group of Chicago’s finest are moving forward as those who shrugged them off before are taken aback and taking notice.

The album is a mix of new and old songs, all with a new edge. The old songs were all rerecorded, most for the better, one for what I believe to be the worse. “The Wayside,” which features Tim Landers of Transit sounds as good as it did when it was released with personal favorite “Force of Nature” on The Wayside Sessions release. The new version of “You Won’t,” however, does not have me singing along as I did with its original release on the Everything I Know EP.

My familiarity has bred contempt with Alive & On Your Own’s take on the song. Shedding 10 seconds and several key lines of melody, it seems to have lost much of its original charm. What was a stand out on the EP is now a muddy mix and the least appealing song on what is otherwise a solid release.

New songs “You And The Cold,” “Hope,” “Golden Years,” and “Never Wrong” are fantastic additions to the band’s catalogue. Each adds a new example of capability that will surely capture some fan and label attention, alike.

Kicking off the album is “Golden Years.” In terms of track sorting, I think this was a good introduction. That doesn’t make it the best song, though. All of the elements that make Late In The Playoffs a great band are there. The shimmering dual guitar parts, an inventive and creative drum track, some hefty bass, and those aforementioned vocals in contrast.

“Never Wrong” may be my favorite of the lot. This one is lead by Pagé. The opening lines just do it for me. “Tuning in I’m not surprised. In between the nights, you covered up. You’re never wrong.” The falsetto on “surprised” sealed the deal. While I’m certain this song would sound just fine with Goldschmidt on the mic, I think this was meant to be Conor’s song. – EDITORS NOTE: We premiered this song here.

Key lyric: “All my drugs are gone, so I feel everything, everything now.”

Midway through, “Hope” is the real crown jewel of the record. Beginning acoustic with Goldschmidt’s crystal clear vocals floating on top, it kicks into a full band arrangement a minute and thirty seconds in. It’s at this point that I really understood how much their songwriting has progressed.

Tracks seven and eight are the heaviest and lightest, respectively. “Living Proof” is aggressive and endearing. “DUI” is a minute long acoustic bedroom demo-esque segway that leads into the final track.

“You and the Cold” is single material. It’s super solid throughout and, apart from “Golden Years,” perhaps the most marketable on the record. The entire album is sandwiched between two really great songs.

Late In The Playoffs’ Everything I Know EP is one of my most coveted pop rock releases of all time. Their full length debut, Alive & On Your Own, is an imposing and appreciable follow up as well as a sign of clear progression. Plenty of spins will be had this summer as I meander around my rural Ohio neighborhood and bike paths, ever wishing I was in the bustling windy city these boys call home.

Score: 8.5/10

This review was originally published by Under The Gun Review.

Today, John Mayer did an odd thing. That is to say, John Mayer did something I didn’t expect from him with a few elements that made it strange. See, after years of TMZ interactions, a failed television program featuring Dave Chappelle, and several unforgettable interviews, it seemed to me that John Mayer was settling down. Now I’m not so sure.

That’s not simply due to the granuloma that stripped his ability to sing for nearly 2 years. No, I had it in my mind that JM was growing up. Leaving the childish comments and cheap media news-bits aside in trade for a more mature presence. By all observation, it appeared that he had done this. His interviews touched on a more serious subject matter, his street attire grew increasingly more stylish (and a bit more western), and his relationship with pop star Katy Perry stayed, for the most part, quiet and free of scandal.

With Born and Raised, John’s music grew in maturity as well. As a more natural follow-up to Continuum, his 2012 release made a perfect companion for travelers and record enthusiasts alike. Rich in tone and content. The lyrical matter was deep and the musicianship was vast and all encompassing.

It’s for these reasons and appearances that I’m rather disappointed with John Mayer’s new single, “Paper Doll.” As pretty as the song is (and it really is), I’m put off by the presentation of what’s to be the first single from Paradise Valley, the album Mayer is looking to release on August 13, 2013. More akin to 2009’s Battle Studies than Born and Raised, Mayer’s new song is heavily rumored and very likely to be about former flame and co-write from the same album, Taylor Swift.

On Swift’s album Speak Now, a song titled “Dear John” was widely discussed as a response to the end of the star couple’s relationship. The song featured bitter lyrics like, “You paint me a blue sky and go back and turn it to rain.” More recently, Swift pushed “22” on the air and into commercials for Diet Coke. Further leading speculators to believe that “Paper Doll” lyrics, “You’re like 22 girls in one, and none of them know what they’re running from.” and “And if those angel wings don’t fly, someone’s gonna paint you another sky” are allusions to Swift’s songwriting; a proper response to “Dear John” even.

Now a diss track, it is not. Rather a sweet goodbye laced with understanding. Possibly of the age difference between the two, possibly not. I’m not one to speculate on celebrity relationships. It is, however quite obvious that the song is about Ms. Swift and the media is loving it. Having spent a considerable amount of time with Ms. Perry, it seems odd to them that Mayer is still hung up on the younger and more blonde of his two most recent flames. It’s for this reason that I feel conflicted about the song. Is this a callback to the cheap media news-bits Mayer was once so well known for? Has his returning voice brought with it his incessant need for attention? It seems unlikely and I won’t base a person’s personality completely on one song. However, I feel a bit jarred. Caught in a space where I long for the nostalgic, humorous, and strong-willed idol John Mayer was in his Playboy days, yet yearn for the beautiful and mature music I found on his latest record.

The music video that accompanied the “Paper Doll” was a whimsical viral grab. I’m not familiar with Joanna Rohrback or her “Prancercising,” but I do know that the lyric video featuring her is a far cry from those shot over miles of desert road released for Born and Raised. This call again leads me to question the direction Mayer intends to continue in with his career.

“Paper Doll” is a gorgeous and simple song. I’m in love with it and I’m enthusiastically looking forward to Paradise Valley. My judgement lies not with the song itself, but rather the future of the artist who as always seemed to surprise me.

I remember this as my first remote interview, recorded over a frightening array of wires from first iPhone to my 2004 Dell desktop running Audacity. This was also the first time I got the personal cell number of an artist I really admired. That was, and is, a weird feeling.

Because of scheduling conflicts, this Skate & Surf interview took place a week afterwards via phone. Cartel vocalist Will Pugh called in from Milwaukee, WI on a cold day midway through the band’s tour with New Found Glory.

We talked about the upcoming 10-year anniversary of Chroma, the Cartel discography on vinyl, and self-releasing a record after ditching label support.

Hey Will, thanks for taking some time for Under the Gun Review — you’re in Milwaukee today, am I right? How’s it going out there?

It’s going good, man. It’s cold. Which is not cool.

Skate & Surf has come and gone, but having conquered the New Jersey festival, how’d you feel about it?

The show was good, but the whole no roofs on the stage and everyone getting rained on and stuff, that was just bogus. We had a great time playing our show. A lot of people showed up, so it was fun. You know? Mission accomplished in that regard.

Did you have the chance to catch any other bands during the festival?

Not really, I saw a little bit of Saves The Day. I’m kind of de facto tour manager on this thing, so I was doing a bunch of running around.

Now you’re on tour with New Found Glory in celebration of their Sticks & Stones 10-year anniversary. The 10-year of Chroma is only a year and a half away. Will we see a tour in recognition of that?

Oh, absolutely. We’ve been talking around that idea for probably the last year or so. Like, “Are we going to do a Chroma tour now or are we going to wait until 10 years?” You know, this is the tenth year of Cartel. In October it will be ten years since we recorded The Ransom EP.  So we thought “Well could we get away with just a ten year anniversary? We’d just play Chroma and a collection of other stuff. What are we going to do?” So we said, “screw it, we’ll just wait.” We’re close enough. It’ll definitely happen.

It’s been a few months since the release of Collider, your 4th full-length record. Better yet, you put it out on your own. How does that feel?

It’s awesome. The feeling of accomplishment when you finally get your hands on a physical copy is super cool. This is the first record we’ve actually had on vinyl too. So, to get that is even better because you just know that there are so many loopholes and things we had to go around to work out for the other records which obviously haven’t happened yet. The fact that we have the vinyl, a manifestation of the freedom we have doing a self-release, is great.

On top of all that, it was self-produced and nobody had heard anything as far as finalized songs until it was done. There wasn’t any outside involvement or any sort of weird dynamics to have to fuck with. So it was very cool to put it all on our own shoulders and just do it.

Speaking of the other records on vinyl, I’ve heard that Enjoy the Ride may be involved with that. Is there any truth to that rumor?

Nobody is onboard to do any sort of vinyl rerelease or rerelease otherwise. At this point, now that we’re releasing stuff on our own, it would be ludicrous to try to involve somebody else. We may go to somebody for distribution when we do Chroma on vinyl just because of how many copies we sold originally and we’d like to have it in stores not just online or at shows. We’re going to be very careful with that just because it is our baby. Just to be completely honest, it’s probably going to be pretty financially lucrative. So, we don’t want to share what we’ve shared too much of already, you know? At this point we don’t know how it’s all going to work because of licensing and whatnot.

Are there plans for the rest of the catalogue beyond Chroma?

We’re obviously going to do Chroma first. We’re trying to figure out whether or not we want that to coincide with the Chroma tour, but it’s not that big of a deal. If you want it on vinyl now, you’re going to want it on vinyl in a couple of years. We’re going to make the packaging that comes with it really, really deluxe. We’re focused on getting that all to work out the way that it should. Once we get Chroma out of the way it will forge the path for the way the rest of the records should be done.

I think it’s great you’re doing it all on your own. What advantages have you found in self-releasing as opposed to what you experienced on a label?

The biggest thing is not having to send your songs off to somebody for approval. It can be good, it can be bad. Constructive criticism isn’t always a bad thing, but in this point in our careers we know what we’re doing with Cartel. We don’t need somebody to tell us what that should be. Especially since Cycles is our most heavily label-involved record, being able to follow that and do a full-length with zero involvement is the biggest advantage because we can do whatever we want. That’s imperative to artistic freedom and getting the best songs out. Plus you can do what you want with the packaging, the way the presales work, and every little factor. That’s all us. It’s that extra sense of accomplishment knowing that every little bit is derived from 4 dudes and their manager.

You produced the record yourself. Take me through that process. Do you have a home studio, did you rent out a space?

Zack Odom and Kenneth Mount, who did our first two records, have a studio that’s about 5 minutes from my old place. They were going on a two-week vacation, so it worked out. They said, “we’re going out of the studio here, if you want to take over and do your stuff then, that’s perfect.” So we went to it. We basically recorded all of the music in two weeks. Then we went on tour in Australia with The Early November and came back and busted out the rest of it through Thanksgiving and into Christmas. It was an elongated process because we didn’t have the funds to do a lock out. It ended up being actually really cheap overall because we did it ourselves and we just had to pay for studio time. We basically paid half-months rent for them.

Was that the first record you produced yourself?

First full-length, yeah. I did end up producing a band last summer called Audiostrobelight from Virginia Beach. They did a 7-song EP. It was a crash-course in producing for somebody else. So when it came to recording our record, it was a little easier and a little more streamlined. I did it in the same studio as well, so I was familiar with the sounds and the processes and stuff. So doing that definitely aided in the recording of our record.

Is that something you would like to do more of in the future?

Absolutely. That’s definitely something I would like to do more often. I’m a studio rat. I love the audio engineering side of things and just seeing songs come to life. Having a say in it and being part of that process is always fun. So, that’s something I’m definitely looking to transition into. Doing that more than what it has been so far. With Cartel’s current schedule that’s not looking feasible until some time next year.

Moving back to Collider, “A Thousand Suns” sets itself apart from the rest of the album; a bit more anthemic. The lyrics indicate a fantasy narrative of sorts. Can you tell me about that song?

The song sort of took its own life. We were still figuring it out when we went in to record the music. I already had the chorus before the song took shape. Then I had the first melody before I had any real lyrics. It’s an ambiguous song. The direct context is to pull in loved ones and such, into the context of the verses and whatnot. The intro is its own thing; a sort of prologue to the song. It does have that fantasy vibe like you said. It’s speaking to any sort of sense of loss. Whether it is family members or friends passing away or just falling out of touch.

A thousand suns is reference to how long it’s been since we’ve put out a record. Roughly three years since we’d put out a record. So it speaks to that too. It brings back the lyrics to “Uninspired” near the end of the song, which speaks towards the same concept. It’s a process writing songs or being in a band or just being a person. It’s abstract and really hard to explain. It’s an ever-evolving answer.

The song turned out to be a really cool and evolving track, especially when it gets down to the end. Definitely one of the ones we were really proud of. It’s surprising how it came out. We thought it sounded like a good closer, but it ended up being so much better than that.

What’s next? Are you writing again? Focused on touring?

We’re focused on touring. We’ll be back with this run in sort of late June, then taking the rest of June off. July is going to be awesome. We’re going international. We’re doing New Zealand, Australia, a tour in the UK, then come back in the fall. Then we’re supporting a full US tour, which hasn’t been announced yet. Then we’ll probably do a headlining tour in the spring.

FAN QUESTIONS

What are the origins of the name Cartel?

We had a band name practice. Everyone thinks of a name and brings it in. All of the ones we had sucked except for Joseph’s who brought in Cartel. Long story short, he was asleep in economics class in college and they were talking about cartels. He saw the definition, which was a “group of individual producers forming a coalition to take over an industry.” We had all been in bands before and we were sort of a “super group” of sorts for our local scene. We didn’t put much stock in the meaning of it. It sounded good, it was simple, you can’t really misspell it or make fun of it. It’s not so much a definition of the band, but it does get us in trouble when we go through the borders sometimes.

When a band reaches any level of success, it’s not uncommon to find covers of their songs on YouTube. Cartel has plenty. Do you listen to these covers? Have any stood out to you?

Not really. I mean, I’ve seen a few over the course of time. To me, it’s kind of hard to stand out unless you’re doing a completely different rendition of a song. This one girl did a broken down version of “Honestly” on the piano that I thought was really cool. It’s mostly just flattering when people learn your songs. They have to take the time to learn it, record it, and have the gall to perform it. I probably haven’t taken enough time to watch some and give them proper credit, but it’s always cool to see that happen.

What do you do to keep your voice so pristine on tour? Any tricks or remedies that you can share?

Really it’s just trying not to get sick and knowing how to sing properly live so that you don’t blow your voice out. Honestly, sometimes you’re having a rough day or weather affects it. I just try to take it easy. I don’t want to blow it out just for the sake of hitting everything. I don’t drink or do any sort of extra-curricular activities before the show. It helps to just give your voice the most rest beforehand and in-between. Everyone, as a singer, should invest a good portion of time into reading from good sources about the best ways to sing, like proper breathing.

I didn’t have that training until we were doing Cycles and Wind-Up was kind enough to hook me up with this guy named Don Lawrence in New York who is this big time vocal instructor who works with Mick Jagger and Bono. He gave me a lot of pointers on a lot of things I wasn’t aware of.

Lastly, spend the money on a set of custom in-ear monitors. When I can’t hear myself, I sing louder and that’s the worst thing you can possibly do. That’s how you go hoarse. I try to sing as quietly as possible while still projecting as much as I can. Essentially, your vocal cords are a muscle and like any muscle, if you work it too hard, you’re going to strain it.

That’s all I have for you. Is there anything you’d like to add?

A big thank you to anyone who has bought the record. We really appreciate it and literally couldn’t do it without you. Every record, shirt, and ticket we sell directly supports the band.

This review was originally published on Mind Equals Blown.

What is “good” is totally subjective. I stand by that with a firm resolve. I write reviews with apprehension because of this fact. What is deemed quality by one can easily disregarded by another for any array of criticisms. I have even found such conflicting thoughts in myself over periods of time. Such is the case with Fall Out Boy’s 2007 effort, Infinity On High, the album I grew to adore.

I’ve written at length about the effects Fall Out Boy’s From Under the Cork Tree has had on me. It acted as a path, a musical bridge from childhood listening to young adulthood discovery. Thus, the P.E. gym bar was set in its highest notch for any subsequent releases from Fueled By Ramen’s golden boys. Upon its release, I found that Infinity On High not only failed to do a pull-up, it couldn’t even reach the bar.

From my first listen to the now-infamous introduction by hip-hop mogul Jay-Z, I was skeptical. Despite some lent-hands on From Under the Cork Tree by the likes of “pop-punk” icons Chad Gilbert, Brendon Urie, and William Beckett, I didn’t think of Fall Out Boy as a band that required album features to sell a quality record, especially out of their “scene.” Having the follow-up to my favorite record introduced by a rap star like Hova was bold. Too bold for my 8th grade nostalgic self.

As my final middle school year progressed, so did my taste. I expanded into new markets. Some lighter, most heavier. I all but forgot about Jay-Z’s breathy in-your-face spoken word and Fall Out Boy’s new album. That was, of course, until the trip and if you’re from anywhere east of Chicago, you most likely know which one I’m referring to. My 8th grade class trip to Washington DC changed the way I thought and felt about Infinity On High in a profound and lasting way.

Before iPod shuffles made their way into the hands of most of my classmates the next year, I recall a wide assortment of portable music players making their way around the charter bus. At that time, I had a Creative ZEN Nano (later followed by the MuVo and ZEN), and it only had 256MB of space. Ahead of departure, I glanced through my Musicmatch Jukebox for travel tunes. Lo and behold, there sat Infinity On High awaiting a second chance from a youthful critic’s ear. I loaded it on and loaded on the bus.

Sparing you from the fond, but admittedly unimpressive and occasionally embarrassing memories that I banked on that vacation, we’ll skip to track two of the record. “The Take Over, The Break’s Over” is a snarky song. I thought so then, I believe so now. This was far from a bad thing, but it wasn’t what brought me back around. What captured my attention on that yellow dress audit was the pre-chorus. “Don’t pretend you ever forgot about me.” It was then I fell back in love with Patrick Stump’s incredible vocal and the words Wentz lent to it.

Middle school does things to a boy, it brings up… feelings. Those desperate, unrequited, adolescent feelings that make those less socially awkward cringe. Being one of those poor schlubs when this album was released, I connected. The lyrical content of the record was dark. It was bitter. It was desperate. I didn’t have much for Internet access back then and Absolutepunk.net and LiveJournal certainly weren’t exactly my online hangouts when I did. Naturally, I had no idea of the trials in Wentz’s life. Still, I bonded. Likening my childish problems to a set far more adult.

On that trip, I fell in love with several songs more-so than others. Songs I think permanently changed my taste. “I’m Like a Lawyer with the Way I’m Always Trying to Get You Off (Me & You)” is a stroke of brilliance. Babyface’s production credit set the grounds for that. There was a very different sound emanating from those instruments there. One I couldn’t then explain, but one I think was the first real step to what would come with Folie à Deux.

“Hum Hallelujah” was an instant favorite, of course sampling one of the most iconic songs ever written, a tune that Pete Wentz and many others have cited as a literal lifesaver. Cohen lent itself perfectly to the bridge. “Don’t You Know Who I Think I Am?” put that much-needed touch of Butch Walker magic in the mix. I’m now convinced that all he touches is gold.

“The (After) Life of the Party” was one I particularly loved on that trip across Pennsylvania’s plains. I often think back to find myself staring out of that bus window, taking in the monuments as I approached our Nation’s Capitol. It was one of those moments of pure synchronicity, a memory and a song forever bound in my mind.

Further, “Bang the Doldrums” provoked a notion of urgency and excitement in a new way, far apart from their back catalogue. Truthfully, I could have done without the bit of Pete’s poetry, but that goes for every album and equally tarnishes each in a familiar sort of way. (Do not get me wrong, some days I love those parts.)

While the first half was catchy and solid, I found the latter half didn’t catch much of my attention. My current self feels that it hasn’t held up quite as nicely as I would have liked. “The Carpal Tunnel of Love” feels unfinished everywhere but the chorus, “Fame < Infamy” does little more than incite some violent toe-tapping, and “You’re Crashing, But You’re No Wave” has its shining moments in the chorus, but falls flat in the narrative. The lead-out, “I’ve Got All This Ringing in My Ears and None on My Fingers” picked things up by a small degree, not entirely saving the back-half of the album, but at least sending it off with a fond farewell.

After it all, it’s the ever-controversial “Golden” that adequately summarizes my feeling for the entire record. On my DC trip, this was not only my least favorite song on Infinity On High, but in the entire Fall Out Boy discography. Since then, I’ve reconsidered it, listened to it dozens of times over and placed it amongst my prized favorites.

The writing on Infinity On High was superb. Inspired by idols in his hardcore roots and having dealt with some of the most difficult times of hardship he would face in his life, Wentz wrote what is debatably (and I go back and forth on this monthly) Fall Out Boy’s best record.

I’m happy that I grew into this album. Had I not found a piece of myself in Infinity On High, I think my current tastes would differ, I’d be writing less, and those long Midwestern hours in the second row from the back wouldn’t have been as enjoyable as the ultimately were.

This review was originally published on Under The Gun Review.

Artist: Fall Out Boy
Album: Save Rock and Roll
Genre: Pop/Rock
Label: Island/Decaydance

“We’re definitely writing all the time, so we’re not going to try to squeeze every last drop out of the stone. That’s part of what’s been wrong with the rock industry: they keep fans waiting far too long, and bands go away and disappear off the face of the planet. That’s not the way it’s going to be for Fall Out Boy.” – Pete Wentz (2007)

Fall Out Boy. I’ve written more words about Fall Out Boy in the past 10 years than any other band. And while I can’t say I’ve followed them from the ground up, I can say they’ve most certainly followed me. The hiatus that followed Folie à Deux was an odd and empty time for myself and countless others. In retrospect, I think it was something fans exploited and used as a weapon of sorts against a band that was doing what many in their situation and standing should.

Hearing that your favorite band is calling it quits in any capacity is a hard thing to hear. The sense of loss that follows is comparable to the loss of a family member or perhaps a childhood friend. The idea that you may NEVER hear another song from those that wrote so many of your iTunes’ “most played” sits on the edge of devastating.

Fall Out Boy exiting the scene was a necessary thing. The time spent with individual endeavors like Pete’s electronic project Black Cards, Patrick Stump’s solo album, Joe’s band With Knives, Hurley’s back-to-roots hardcore acts FocusedXMinds and Enabler, and the latter two’s super-group The Damned Things all gave their life a much needed break.

Rumors and industry chatter aside, Save Rock and Roll was a pleasant surprise. When it became apparent that Fall Out Boy would be making their return to music, I didn’t expect an album for at least another few months. When 2 Chainz let the boys out of the van and the preorders were launched, it dawned on me that they had actually recorded and planned the release of an entire album under the noses of everyone. With pop genius Butch Walker, no less.

The choice of a leading single is an interesting thing to me. While it isn’t my favorite song on the record, “My Songs Know What You Did In the Dark” really fits the bill. It screams “We’re back, we’re still snarky, and we are changing things up. Get ready.” If there is any rhyme or reason to choosing, I can only speculate that they chose the song that is most anthemic. If that’s the case, they nailed it.

Put on your war paint… Eagerly jumping into Save Rock and Roll while sitting in class on April 8, I knew from Stump’s first war cry that this album was going to be massive. When the first verse rode in, I was positive that any of the confidence issues the vocalist was dealing with in the 2 years prior were long gone. I’ve never heard him this confident. With that assurance in my own mind, I abandoned all doubts and continued with a mind wide open.

Let’s play this game called “naming favorites,” I’d do it, if it weren’t too soon. “Alone Together” starts off with an a cappellic sincerity which builds through the hook into a single-worthy chorus. This is Hollywood music supervisor gold. If this cut doesn’t provide a musical bed for a Sixteen Candles remake or something of similar effect this June, I’ll eat my shorts.

While most were wondering how the guitar in Butch Walker’s pro-tools session got lost, Fall Out Boy was wondering if they could capture some Decaydance nostalgia with a touch of Cobra Starship’s Hot Mess. Butch found the guitar later on “The Mighty Fall” as Patrick tapped into his inner Saporta in “Where Did The Party Go.” I’m expecting a backyard barbeque and skate boarders in the pool for this music video.

Last year Adele took ones across the board. She was, by far, the most selling musicians in all music stores. It was a common claim that she even “saved music.” With that mindset, it makes total sense that Fall Out Boy pay tribute to the star with a greatly inspired introduction to “Just One Yesterday,” rolling deep in Adele’s soulful swagger. Further exploiting the UK’s vast pool of talented females, Neon Gold Records’ darling dear Foxes (one girl, Louisa Rose Allen) was handpicked for a phantasmal bridge and backing vocals throughout. Although she has recently been following in her EDM featured footsteps (see: Zedd’s “Clarity”), Foxes isn’t Ellie Goulding. Excuse me for being so blunt, but I’m quite tired of hearing her on, well… everything. Louisa’s voice is fresh, yet familiar and plainly beautiful.

“Oh gawd.” When I found and “leaked” the track list for Save Rock and Roll, I took a fair amount of time to consider the group’s choice to feature Def Jam’s Big Sean. All things considered, Fall Out Boy could have used anybody. Heck, Jay-Z did a spoken word intro for their album in 2007 (a rap was 5 grand extra, don’t quote me). Still, I think they made a good call. Big Sean had a good year in 2012. From what RapGenius and Wikipedia tell me, he had more than a few singles playing at my friends’ house parties. He’s also not 2 Chainz. The verse wasn’t the strongest, but it did sample a Simple Plan lyric, so that was cool.

I have a theory, please humor me.

“Miss Missing You” is one of the better songs on the album. One that immediately stuck out to me as a classic in the FOB catalogue. One line in particular jumped out at me as extremely well written, yet after 5 seconds of Google research, I found it to be a borrowed line from one Taylor Swift. The lyric in the Fall Out Boy’s song goes “Sometimes before it gets better, the darkness gets bigger. The person that you’d take a bullet for is behind the trigger.” Classic Wentz, right? Not just quite. After tracking down a GoodReads page (the first link in that particular engine search), I found a quote eerily similar, attributed to miss Swift. It goes like this, “Sometimes the person you’d take a bullet for is the person behind the trigger.” Coincidence? Probably. I can’t find much on this quote or where it came from. Just that everyone has been convinced for some time that she at one point wrote or said it. The song also uses the words “whiskey,” “husk,” and “chlorine kissed summer skin.” This is a conspiracy theorists’ Pete Wentz country song. Possible T-Swift tribute? We’ll never know. The only connection between the two I can find is this commercial.

“Death Valley” is a heart-pounding anthem with occasional Folie à Deux throwbacks to keep things familiar. Oh, then the bass drops and we have a 13 second wubstep breakdown. There’s a little bit of everything here, and I’m going to pretend the EDM piece is ironic.

As if to assure me that things will be okay, “Young Volcanoes” kicks in with a youthful melody and sweeping synth. The urge to run free around a campfire with my friends is formidable. I feel a lot of Patrick’s solo inspiration shining through on this record, no doubt facilitated by the man behind the boards. As I’ve said times before, Walker/Stump could absolutely rule the airwaves if they so chose.

I really dislike Courtney Love. Her demeanor is offensive and Hole isn’t even in my Last.fm library. Her role on this album is superfluous and that’s all I really have to say about it. The chorus, however, is appreciable and infectious.

What can be said about “Save Rock and Roll”? There is so much to commend on this song that I’m finding it really difficult to summarize. We start with a pitch-altered homage to “Chicago Is So Two Years Ago,” from Take This To Your Grave. This is followed by what’s most likely the most venomous line ever uttered by Patrick Stump’s lips. “So fuck you, you can go cry me an ocean and leave me be.” The bridge borrows a Charlie Kaufman quote most of UTG’s staff would recognize.

If compared to a track on the album preceding it, this is Save Rock and Roll’s eponymous “What A Catch, Donnie.” It references lyrics from songs past like “Chicago…” and “Sugar We’re Going Down.” Instead of Elvis Costello, the honorable Sir Elton John confers his prowess to the track. The theme is the comeback. Only plugging in to save rock and roll and being the last to still believe screams “I’ve missed this.”

Save Rock and Roll may not have done literally what its title suggested, but it was never meant to. What it did do was seal my faith in a band that has been in my life for a decade. Changes have been made, sounds altered, but one thing remains the same. Fall Out Boy is two steps ahead of the crowd and still surprising me. Time will tell where this album ranks amongst the others, but for now I’ll happily click repeat.

Score: 9/10

This review was originally published on Under The Gun Review.

Artist: Coheed and Cambria
Album: The Afterman: Descension
Genre: Progressive Rock
Label: Hundred Handed/Everything Evil

It seems strange to write an album review for Coheed and Cambria so soon after the last. Part 1 of the Afterman double album still resonates with me as new, yet the second part has come, eager for my ear.

And my ear it has had. For several weeks I’ve soaked up all The Afterman: Descension has to offer and subsequently attempted to cultivate the words to use in a review. My best will be done to refrain from gushing over you, but no promises can be made, for part 2 of this epic is greater than or equal to its predecessor in every way.

While Ascension opted for a familiar-sounding piano intro flush with eery foreboding, Descension opens with an ambient acoustic loop, periodically punched with hopeless wails and crashing percussion. It most certainly drags the listener in and prepares them for the single that follows.

Sticking to form, “Key Entity Extraction I: Sentry the Defiant” blasts the record into an anthemic epic condensed into 4 minutes. This was actually the first song we heard of the Afterman era, originally an acoustic recording presented by the band a full year ago. In its full form, it’s a contender for best rock record of the year.

Throughout the album, correspondence between the effeminate computer program, affectionately referred to as “All Mother,” and the spaceman journeying home provide some direction to the story that The Afterman tells.

For those wishing to sample this particular record or Coheed’s style, in general, they might start with “The Hard Sell.” A vicious song that showcases all of the high-points in the instrumentation of the band as well as a medley of the various vocal styles singer Claudio Sanchez has in his arsenal.

Beginning as what could be the most industrial of Coheed and Cambria’s songs on their two-disc album, turns to the most pop-driven tune they have ever written. With a horn section in tow, “Number City” is a heavy departure from the rest of the collective. A brass breakdown takes the track home and makes way for what actually is the most industrial in the track listing, “Gravity’s Union.” More of a No World For Tomorrow throwback than the rest, it shows that despite a general return to the sound cultivated in In Keeping Secrets of Silent Earth 3, they aren’t throwing the rest out of the window. Drummer Josh Eppard shines here.

“Away We Go” is a second pop-influenced diddy of optimism, while “Iron Fist” is a slightly calmer ballad. “Dark Side of Me” gradually lifts the mood into the soaring single it is. For those who can’t get beyond the high register voice provided by Sanchez, this is a song that could have a much wider appeal. The vocals are kept in check, without the signature runs left on the shelf. The bridge makes a fantastic window into the band’s ability to sonically meld into each other. This is, without a doubt the greatest lineup the band has ever had.

Perhaps my personal favorite of the album is, coincidentally, the closer, “2’s My Favorite 1.” The chorus is extraordinarily infectious and begs the listener to put the album (or perhaps the song) on repeat. A perfect closing track, if there ever were one.

If I had to choose, The Afterman: Descension is the better of the pair. The nostalgia is there, it’s less venomous than the first part, and its structure is perfectly sound. It couples well with Ascension and satisfies as a solo record. Scoring it won’t be difficult, seeing that I gave a 10/10 in my first review. However, if it made mathematic sense, I would bestow Descension with an 11/10

Score: 10/10
Read my review of The Afterman: Ascension here.

This review was originally published on Under The Gun Review.

Yesterday, one of the most influential bands in my life made a huge return to music after a 4 year hiatus. Fall Out Boy came back, sending my Internet world into a complete frenzy.

The song, “My Songs Know What You Did In The Dark,” wasn’t completely new to me. Some time ago, I ran across a demo of this very song that was worlds different from what the world heard yesterday.

Guessing that a single was soon on its way, I knew that it when it came, it would be exciting and there was no way in hell I wouldn’t love it, simply because it’s new and it’s Fall Out Boy. Foreseeing this, I listened with apprehension. My initial thoughts:

When Infinity on High was released, the lead single was “This Ain’t A Scene, It’s an Arms Race.” When Folie à Deux came around, “I Don’t Care” was the first we got to hear. Like these, “My Songs…” is a great lead single, but unlike those prior, I think it lacks any real meat.

There are two decently written verses chock-full of welcomed bitterness and a super repetitive chorus that will no doubt be used to promote any number of movies or video games in the coming months. “Light em up!” Pop chorus aside, the music backing the track is what I really found contention with.

The production is fantastic and I’m more than thrilled that Butch Walker is working the boards on this one. He and Patrick Stump are high atop my list of pop music heroes. With this song, however, I can’t help but think the drums could be smaller, guitar more prevalent, and the introductory vocal sample beaten with a stick.

If this song fits anywhere in the Fall Out Boy catalog as we currently know it, it’s somewhere in between Infinity on High and Patrick Stump’s under-appreciated Soul Punk. It’s nothing we’ve heard Fall Out Boy do thus far, but a hint at what we should expect from here-on-out. The music video that accompanied the single and the promotional photos for the release do their best to justify the new sound. The band members burning their old records is representative of moving forward and being held captive by rapper 2 Chainz is a clear indicator that what we’re to hear on the new record will be a major departure from what we’ve received from the band in the past, an escape from expectation.

Perhaps I’m still nostalgic for what Fall Out Boy was. It’s been a long hiatus and I’m still not used to saying Fall Out Boy *is,* rather than *was.* I’m coming around to it though, and I’m truly excited for what’s to come with Save Rock and Roll. “My Songs Know What You Did In The Dark” is good, not fantastic. I patiently wait for May 7th.

This was the first and only interview that I ever conducted twice. After having a really great conversation with Joe about his work, I realized that I had not properly set up Audio Hijack to record the Skype session. Luckily Joe was kind enough to hop back on the phone to immediately re-record.

Thanks to our newfound familiarity with each other, it actually came out better than the first take.

Recently, we stumbled upon a web series gem called Average Joe that we just loved. Very true to its name, the show follows a normal guy named Joe throughout Los Angeles as he seeks out companionship. Editor Jacob Tender recently sat down with the creator and star of the show to talk about the series and some of his other projects which includes the documentary found on the deluxe edition of Black Veil Brides’ latest album, Wretched and Divine: The Story of the Wild Ones.

Read the entire interview below.

Hi Joe, for those who aren’t familiar with your work, can you explain what it is that you do?

Yea yea. I’m a comedy writer and director. I’ve been out in LA for a couple of years and bounced around, but Average Joe is my first big project. It’s a six episode first season web series about a guy who gets dumped in the pilot. He’s hanging out with his friends and real life cousin, Andy Biersack. They tell him “you need to get that rebound, you need to fuck the pain away,” and I guess that’s a normal thing to do when you get dumped, but in this show that proves a lot more difficult and awkward than expected.

So the show follows Joe as he meets girls at the bars and clubs and online dating. He even gets into a mistaken celebrity situation. All of this with the hope and goal of fucking the pain away. He fails. Numerous times. And by the end of the season, he’s starting to think, “Maybe it’s not a random hook-up I’m into, but a connection with a person.” Then he thinks he has that, but it ends disastrously. So that’s the major theme of the show.

What first inspired you to get involved with filmmaking and how did you originally get your start?

I got my start in community theater, acting wise. It was in highschool when I really started watching Woody Allen movies that I really took note of the film makers, not just random films and actors and things. He was the first person that, you know it’s a Woody Allen movie when you watch it. His voice and his style and everything else.

So that got me thinking, “Ok, who are these other film-makers?” And from there I wanted to make my own movies and have my own voice. I went to college at the North Carolina School of the Arts which is essentially this little arts bubble in the south filled with really silly kids and a thousand people. After studying film for a few years, directing, in particular, I moved out to LA. I’ve been chasing the dream ever since.

You recently produced a stage production that played on Santa Monica Blvd. Tell us about that.

I produced two plays back to back. One was an original that a buddy of mine in college wrote called Laboratories of Our Youth. That ran for eight weeks. I’d never produced anything before, but I was really into the script. I told him that I would love to act in it, but it was cast. I told him I’d love to direct it, but that role had been filled. So I said, “Well, fuck it, I guess I’ll produce it.” So I did and it was an incredible experience.

The other play came right after that Michael Showalter, David Wain, and Joe Lo Truglio wrote. It was called SEX, aka Wieners and Boobs. It was a pretty crazy show and a crazy experience. We had three sold out midnight shows as part of the Hollywood Film Festival of 2012. So I spent 8 months doing theater, then got back into film with Average Joe.

The show has seen fantastic ratings on Funny or Die. What has the reception been like for you?

It’s been great. You never really know what to expect. I spent 14 months making season one. Between writing and shooting and editing and everything else. So once it’s out there, it’s out of my hands. I’ve been happy that the response has been so good. Between the ratings on Funny or Die and the people who Tweet at me and tell me they enjoy the show. It makes it all worth it. We’re hoping to build on all of that and go for a bigger and better response with season 2.

Your cousin, Andy Biersack is the lead singer of the glam-rock group Black Veil Brides and a featured member of your show’s cast. What has it been like working with him?

It’s been great. We grew up together and it’s been awesome watching his success and the band’s success as they’ve gotten bigger as the years have gone on. So, it was a lot of fun to collaborate with him on something because I definitely have no talent musically, so that wasn’t going to happen. He’s really funny and I knew that, so I thought “Hey, you know, why don’t you play my cousin. It’ll be a real stretch for you. You can give me advice throughout the series.” He was totally down. Anything I threw at him.

His stuff gets pretty dark later in the season and kind of crazy. Any idea I came up with, he was down or had a better one. It was a fun opportunity to collaborate with fam.

Are you looking to keep him on in season 2 of Average Joe?

Yea. We’ve talked about season 2 and where he’s headed. He’s going to have a lot of dark secrets. Shit’s going to get real with Andy in season 2. I’m excited and I’m in the process of writing it now. If people and fans of the band enjoyed seeing Andy in season 1. Look out, it’s going to get real in season 2.

Your latest project involves more of Andy and Black Veil Brides. Tell us about that.

I filmed a 50 minute documentary on the making of Black Veil Brides’ new album, Wretched and Divine. If you buy the deluxe version of the album, you get the documentary.

Essentially I was in the studio with the guys for 3 months while they were recording it, then I spent 3 months editing all the footage. I had something like 29 hours of footage that I whittled down to an hour. It was a great experience and for fans of the band, as opposed to watching interviews talking about how they work, this documentary actually shows how they work. I was very much a fly on the wall, so it doesn’t look particularly good because we didn’t light anything. I wanted to be as least intrusive as possible. If I missed something, I didn’t ask them to say it again.

It’s an opportunity for the fans to see what it really takes to make an album, not in a staged way like I think most of these behind-the-scenes things can play.

Critics have likened the program to Judd Apatow’s style and writing. Would you agree with that?

Yea, on some level, definitely. It’s very humbling to be compare to Mr. Apatow and I’m a big fan of his work. There’s a good comparison there. The show is about a schlump of a guy who’s with women who are probably far too attractive for him. I think my stuff is a little more awkward and a little more drawn out. I take my time to get to the punchlines. I think what Judd does so well – I say that like I know him – is “band bang bang” good, solid dialogue. I think I’m a little slower, but it’s a welcome comparison and one I’m very humbled to get.

Earlier you mentioned Woody Allen? Who are your some of your other film making influences?

Beside Woody Allen, Louis C.K and Larry David are big ones. Growing up, Mel Brooks (Blazing Saddles, Young Frankenstein, High Anxiety) all of his movies, Steve Martin’s stand up and his movies like The Jerk and Dead Men Don’t Wear Plaid. I loved all of those movies. Those were the big ones.

What is your ultimate goal as a filmmaker?

My ultimate goal as a filmmaker is just to make things that a lot of people can see and hopefully identify and relate to or get some sort of emotion out of- along with laughing. I don’t want to sound too pretentious, but I think that’s the ultimate hope. To move people in some way. Hopefully to make them feel a little better after laughing at my work.

I’m working on a few features and my hope is to get them out into theaters and have people respond well to my work.

When can we expect season two of Average Joe?

I’m writing it right now and it’s going to be 13 episodes. I’ve got a lot planned for it. I would say, hopefully, Spring, if not, Summer of this year we’ll have season 2 out. We’re figuring out financing and where you’ll be able to find it and whatnot.

What are the chances of a Teen Crush reunion?

[laughs] You are awesome. It’s funny that you mention that. Teen Crush was a boy band that I was in while in high school. I’m actually working on a Teen Crush feature. The basic pitch is Spinal Tap with a boy band. That’s something I’m really excited about. They had one big hit in the nineties then a colossal meltdown and now they are getting back together for a reunion tour or show or something. It’s something that I’m working on, definitely.

Thank you for your time.

Last week, Facebook introduced Poke, a heavyweight competitor to indie real-time photo sharing app Snapchat. Coming out of the gate fully featured with the ability to send photos, typed messages, or video for a user determined allotment of seconds, Poke will no doubt be making it difficult for the ghostly mascotted Snapchat, Inc to gain further ground without some innovation (which Facebook will then likely steal).

Speaking of innovation, Facebook has done some of their own…

In attempts to boost user-friendliness on its website, Facebook has implemented another batch of changes to allow users to share their photos more easily. With a new “drag and drop” feature, sharing photos of your cats is now faster than ever before.

Simply drag a photo or multiple photos (cmd + click on mac, cntrl + click on PC) into the status box, type up a quick description and you’re on your way! Hold up. Did you forget a picture? You can add additional uploads before you click post.

The feature began popping up last week, but Facebook tells TechCrunch that the feature is “now available to all.”

Writing for WhatCulture was a mistake. Apart from having my work chopped up into slide-based listacles, there is no longer any attribution on my pieces there. Trying to recover the now-dead images for the post yielded the thumbnails you see here.

For the last several years, Myspace has fallen into a state of ridicule and abandonment. The once leader of social media platforms quickly fell to the feet of current giant, Facebook. Unable to innovate and keep up with Zuckerberg's website, Myspace attempted to change its direction, rebranding itself with a new logo and media focus. The result was a messy, unappealing, and unusable disaster.

Falling further into irrelevancy, Myspace finally sold for $35 million in 2011 to Specific Media, which is owned by the three Vanderhook brothers. These entrepreneurs split the stake with Justin Timberlake and planned to "evolve Myspace into the premiere digital destination for original shows, video content and music."

Ditching the stylizations MySpace and My____ for the more mature, Myspace, the Nickelback of social networks is finalizing its changes to the service and has opened the "new Myspace" to beta users by invitation. I quickly accepted my own and dove into the service's new features.

9. The User Interface (UI)

...is clean. The new Myspace works like a sideways Pinterest. You can now find the content posted by your friends and favorite artists in your "stream." At first look, it looks cluttered, but using the filters, you can pretty easily navigate content relevant to your interests (profile updates, photos, music, posts, etc.) The way you connect to content is new, too. You now have the ability to comment, connect, or share any post as long as its privacy level is set to public.

The connect feature is actually one of the biggest and focal additions to the site. You'll find it everywhere in the UI, pictures, music, mixes (I'll get to that) and most importantly, profiles.

It works like this, once a friend has joined the site, you can search for his name using the easily accessible and large fonted search function. Once on their profile, you can "connect" to them using a button that looks like a Venn Diagram. Once you've clicked it, the circle on the left will shade itself in. Once your friend connects from their end, the circle will meld into one shaded circle, representing completed connectivity. On photos, connecting seems to be the equivalent to the "like" feature on Facebook. Connecting to mixes will add them to your mixes menu.

Ah yes… click next to read about Mixes…

8. Mixes

Mixes are one of the core offerings of the new Myspace. The are essentially photo albums, but with a twist. You can add more than photos. In your mixes, you can add music, videos, and photos all into one collection. Myspace's new informational source, AskMyspace says, "It's hard to say what exactly they are because, with some creativity, they can be anything."

As you begin to fill out your profile, several default mixes will be made for you. These include your Profile Mix, Cover Mix, and Stream Mix. Each will contain profile pictures, cover photos, and connected songs, respectively.

Speaking of profiles...

7. Profiles

Profiles were made to visually please. The use of fluid design elements make looking at profiles fun, while still holding some of the classic Myspace elements in place. The cover photo will be the most noticeable when visiting a profile page. This image will be the background on which the menu and information pane will sit and slide over. In that pane you'll find a short bio (150 character limit), connection statistics (Jake is more popular than Jack), location, site or blog url, profile song (doesn't play automatically), and then finally the user's Top 8 [friends].

Sliding your fingers on the laptop trackpad to the left or downward will bring the profile owner's stream into view, again in a sideways Pinterest style display. Before the user's content and activity is shown, there is a place to write on their stream, much like on a Facebook wall. You can also post media, like pictures or song recommendations right there for them to see when they log on. They'll, of course, see this via the notification icon on the...

6. Myspace Deck

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This is where the media minded will want to pay attention. The Myspace Deck is the one constant on the entire site. No matter what page you are on, the Deck will be there with you.

On the deck, you'll find (in this order) the Myspace home button, your name with a link to your personal profile, notifications, messages, discover, search, and then your media controls. These give you power over the media you experience throughout the site.

Hovering over the Deck will display a slide-up queue of whatever it is that you might be playing. This bar can be pinned open and has sub-menu's options such as Mixes, Messages, or Radio. Private listening sessions can by the toggle on the right side of this menu. This is also where you can drag and drop songs and pictures to quickly create mixes.

5. Radio

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Terrestrial radio is dying, being replaced by satellite and internet alternatives. Pioneers like Pandora and Last.fm have set the standard and others have intelligently followed. Myspace is one in that number, introducing their own personalized radio stations. Starting from any song, artist, or genre a user can quickly start listening to related music. Now this is far from perfect. Myspace isn't using a musical genome to dictate what is related to what. It seems to instead draw from a genre and play histories of other users.

For testing purposes, I started with Frank Ocean's radio channel, first listening to the instrumental track "White." This moved to Mario, which was followed by a T-Pain ballad, which was followed by Monica, Drake, and Fantasia.

Not bad. Next, I tried starting a radio session with a song, specifically Anberlin's "Self-Starter." The results for this example were not as well matched as the previous. As related tunes, Myspace chose to play VersaEmerge, Cady Groves, and The Ready Set. Not exactly what I would expect from an alternative rock station.

There are obviously bugs and adjustments to be made to the radio feature. There is also no rating system (thumbs up or down) to indicate that a match isn't suited for a channel. These issues aside, positives can be found by the optimistic eye. For example, there are no limits to the number of skips that you make. The channels you make are also automatically saved and easily accessed by clicking the radio button.

4. The Catalog

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There are tons of songs on Myspace; some old, new, and perhaps a few you haven't heard. That said, don't expect a Spotify or Rdio sized catalog just yet. There are some major holes in several of the discographies I looked at. For example, in Fun.'s profile, I can see the band's debut EP Aim & Ignite as well as the deluxe edition bonus tracks. The 2011 Christmas single is there as well. What isn't there, however, is the band's breakout full length Some Nights. All that can be found from one of this year's top records were the singles "Some Nights" and "We Are Young."

I reached out to Myspace to find out exactly where the music we're listening to was coming from and were told the following. "We have millions of songs available at your fingertips. Aide from lettings artists upload their own music, we also have agreements with record labels which allow us to have an immense catalog including the latest music."

As the catalog grows, so does my desire to scrobble all of my listens. When asked about Last.fm integration, a representative from AskMyspace said "We love, love. love the Last.fm. You are not alone in that idea. We will keep you updated....."

3. Media Quality

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Listening with decent headphones will tell you that the audio quality on new Myspace is subpar. The crispy crackle of mp3 compression is noticeably apparent and the video quality is 480p at best. Oddly enough, there is no option for high definition switching either.

2. Account Types

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There are 12 account types that can be selected when starting your account and in your account settings later. They are Musician, Photographer, Filmmaker, Curator, Designer/Creative, Entertainer, DJ/Producer, Brand, Venue, Writer/Journalist, Promoter, Fan, Comedian. For now the only changes that will be made to your account by choosing any of these types is the ability to upload songs. These options are available to musicians, DJs, promoters, venues, and comedians. More options will be available as updates roll out.

1. Issues

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While the general aesthetic is great, there are still a lot of bugs to work out. After using new Myspace daily for a week, I've made a list of things that need adjustments.

Things that will likely get fixed or added in time, or before the beta is up include chats not saving after refresh, links in chat being clickable, and notifications not being instantaneous. There are also some bugs when switching from song to song that will display the metadata for the newly selected song, but will play the previous selection.

Some ideological issues are also present. For example, the way cover images are handled upon upload isn't perfect and could be made easier to prevent time spent reworking an image in an external editor. Making the images scalable or seeing a preview would be helpful. The platform also lacks a way to separate friends from musicians, making it difficult to locate the personal updates from the more newsworthy. Click "next" below for our final verdict on the New Myspace!

Verdict

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While new Myspace has been fun to play with and looks great, I've failed to find a purpose for daily use. Facebook has the people I connect to, Twitter has the minute to minute updates I crave, Instagram has the photos I share, and Spotify/Rdio have the music I listen to. While Myspace has the potential for being great once again, I don't expect it to regain and keep a hold of the volume of users Facebook boasts or even what they had in their glory days. Instead, it looks like the continued focus will be music and media. The question that remains is the capacity at which the new service can be used by musicians to reach their fans.

New features are promised by launch, fixes and adjustments too. So we may yet see what will save the floundering company. So far, I'm enjoying my beta access and adjusting out Top 8s as my friends join in. Did I mention Tom was back?

This review was originally published on Under The Gun Review.

Artist: Blaqk Audio
Album: Bright Black Heaven
Genre: Electronic
Label: Big Death / Superball Music

It has been a long wait for a new Blaqk Audio record. The duo’s debut album, CexCells, made its way into the world in 2007. It wasn’t long after that talks about a follow up record were taking place. These talks and rumors were followed by demos and unofficial singles, sending their cult fan base into a frenzy with each one, myself included.

I often think about what it is that I enjoy about the electronic music they make and I have no true answer. I suppose it’s residual attachment from the Myspace music hay-days. The Medic Droid was an addiction of mine for some time and Blaqk Audio followed just after their disbandment. I’ve been a fan of the AFI offshoot ever since.

The band’s second offering, Bright Black Heaven, is all that I could have wanted. It’s uplifting, upbeat, and unrelenting. The production is top-notch, which is a welcome fact after several years of so-so demos. This isn’t your younger brother’s bedroom synth project.

Davey Havoc’s vocals are just as darkly anthemic as you’d expect. Puget’s compositions are ’80s dance reincarnations with a hefty blend of ’00s techno. The combination of these two elements deliver an exciting experience unparalleled by any electronic act currently active. There are no cheap tricks to be found on the record. No massive bass drops, dubstep breakdowns, or drum patterned scream samples. It’s straightforward dance music with Havoc’s lyrics floating ominously overtop.

Some of the album’s highlights exemplify those qualities to a T. The album’s opener, “Cold War” is a soaring welcome that transitions into big breaks like the ones found in “Faith Healer” and “Deconstructing Gods.” you can’t help but bob your head with “Everybody’s Friends” either. It’s physically impossible.

’80s mom friendly tunes include “With Your Arms Wide Open” and “Bon Voyeurs.” The biggest song atmospherically is “Bliss” while “The Witness” may possibly incite a revolution. Both hold together the midsection of the album while the end is taken home by dance number “Say Red” and pre-release favorite “Ill-lit Ships.” The latter of those two being one of the album’s strongest lyrically and audibly. Overall, Bright Black Heaven is very well constructed.

Anyone who is into electronic pop or dance music will likely like this album. Anyone who loves AFI might like this album. Anyone who doesn’t like either of those things won’t like this album. I liked it, and will listen to it often, occasionally when drifting off to sleep. Bright Black Heaven is a dream that I don’t want to wake up from anytime soon.

Score: 8/10

This review was originally published on Under The Gun Review.

Artist: Coheed and Cambria
Album: The Afterman: Ascension
Genre: Progressive Rock
Label: Hundred Handed/Everything Evil

Sometimes bands don’t hit their notes quite right. While they may be masters of their own craft and play their instruments with the utmost precision, the ending result of a year’s work writing and months of studio sessions may be… disappointing.

Coheed and Cambria made their way into my life with The Second Stage Turbine Blade, my heart with In Keeping Secrets of Silent Earth 3, and my last.fm top 5 with Good Apollo, I’m Burning Star IV, Volume One: From Fear Through the Eyes of Madness. The two records that followed, however, just didn’t strike the right chords for me. Their fourth studio album, No World For Tomorrow, was a grower. Their fifth was barely listened after its first several plays. There was something missing… Something evidently found for their latest release. The Afterman: Ascension is a true return to form and will do my best to do it justice in so many words.

After an eerie opening reminiscent of introductions and interludes past (see: The Ring in Return, Keeping the Blade, etc.), Ascension kicks off into the lead single, “Key Entity Extraction I: Domino the Destitute.” Powerful and epic, “Domino” instills that feeling often felt when listening to the band for the first time. Drummer Joshua Eppard is a welcome return, as his recognizable sound drives one of the band’s biggest epics in years. In fact, I credit this left-handed open percussionist for a great deal of the album’s appeal.

One of Coheed and Cambria’s silent and often forgotten strengths has been the ballad. While not a ballad in the most traditional sense, “The Afterman” is heavily layered and exquisitely composed. A respite before cutting into “Mothers of Men” which, to a nostalgic ear, sounds like a wayward cut from Good Apollo, Volume One with a brighter sheen.

“Goodnight, Fair Lady” continues the trend of songs from eras past. With band newcomer Zachary Cooper’s introductory bassline, I was convinced I was listening to In Keeping Secrets for the first time all over again. The same can’t be said, though, for the bassline leading into part two of the Key Entity Extraction. “Holly Wood The Cracked” is a venomous staple outdone only by the forcefulness of the third segment of the four part suite. “Vic The Butcher” is a powerhouse that literally TAKES your attention.

The Key Entity Extraction ends with part four, “Evagria The Faithful.” The band refuses to back down from its musical onslaught with their best chorus since “Feathers” two albums before. It’s here that I should note that the guitar work is a thing of beauty. Known for his incredible ability on the axe, Claudio Sanchez has outdone himself on the lyrical content as well. I’m eager for a future graphic interpretation of this record’s story.

As the album leads out with a somber “Subtraction,” I find my faith restored and a sense that Coheed and Cambria is back where it belongs. I think the best thing about The Afterman: Ascension is the notion that The Afterman: Descension is a short matter of months away.

Score: 10/10

Read my review of The Afterman: Descension here.

This review was originally published by Under The Gun Review.

Artist: Go Radio
Album: Close The Distance
Genre: Power-pop/piano rock
Label: Fearless Records

In 2007, I was introduced to the velvet voice of Jason Lancaster by way of A Lesson In Romantics, the debut full length of his band Mayday Parade. This album quickly became a staple in my library. Anticipating a follow up record, I purchased Anywhere But Here with enthusiasm and excitement. In 2009, I wasn’t very up-to-date on news. As you can already guess, I was pretty shocked and disappointed to discover Lancaster wasn’t on the new record. Playing catch up, I sought out some information on the split and what Jason was doing now. That’s when I found the Myspace for Go Radio. I let out a sigh, not because Myspace, but because Go Radio. Thank goodness for Go Radio.

I enjoyed their first 2 EPs. but craved a full length record. Cue, Lucky Street. To say I was underwhelmed with that album was an understatement.

Don’t get me wrong, I listened to it quite a bit, but let’s be real. It was pretty soft. If you were expecting anything different from Close the Distance, you might be let down. In fact, Go Radio’s upcoming effort is even softer. My thoughts…

It started off nicely. “I Won’t Lie” is classic Lancaster. It’s poppy, groovy, and full of big vocal lifts. The chorus has me falling in love, but I held fast to my objectivity as I skipped to track two, “Baltimore.”

Oh, a ballad. Ok. I would have kicked into a bigger song here, but it’s fine. Baltimore is cute and unassuming and chock-full of those romantic themes that Lancaster has claimed as trademark over the past 5 years. Still, I’m holding out for something bigger. I got that with “Collide.” The repeated guitar rift and driving drums gave the record a much-needed lift.

“Go To Hell” is a perfect single. It has everything a Go Radio fan could want. You’ve got the poetic ballad that leads right into an angsty chorus bolstered by some big vocals. While this one will likely provide an average listener several listens, I can’t say the same for the middle of the record. “Lost and Found” and the title track are incredibly familiar and slightly boring.

After finding the midsection just average, I found myself greeted by the big piano ballad of the record, “What if You Don’t.” You knew there would be one right? At this point, I’m thinking “why aren’t there more synonyms for the word ‘ballad’?” That thought was snatched from my head as the final piano key was struck and “Things I Don’t See” kicked in. This is my favorite song on the record. The chorus is huge and easy to pick up on. So much so, I was singing along on my second run through.

“The Ending” was deceiving. I’ve been so undecided on this album so far that I was sort of hoping this would actually be the last song. It wasn’t that, but it did make me forget the song I was listening to with the opening line. “Do you ever feel that you can’t wake up?” I’m not lying or kidding when I say that every time this song begins, my mind goes straight to Katy Perry’s “Firework.” Skip.

Only 2 songs away from completion, Close The Distance was in dire need of something special to keep me interested. “Close the Distance” wasn’t that something special, again, the introduction sounded recycled. Call me crazy, but I swear those are the chords from “California Gurls.” Jason’s Katy Perry crush aside, the song is a snore with few redeeming moments. That only leaves “Hear Me Out” and if I know Go Radio like I think I do, we’ll be finishing this review with little enthusiasm.

Yep, we have another ballad. I can’t say that I was surprised, just a little disappointed. Look, I know that Go Radio’s biggest hits have been slow songs, but that doesn’t mean that all of their slow songs are hits. If that were true, Close The Distance would go platinum. It won’t. Previewers will be too sleepy to buy it. It’s that slow.

Without any big builds or climaxes, Close The Distance goes down as another album I’ll maybe listen to again someday if I’m really sad or tired. If you’re looking for something fresh, skip this. If you’re ok with what you’ve had before with Lucky Street, get this one too. They go together nicely.

Score: 5.5/10

This retrospective review was originally published by MindEqualsBlown.

I wonder what John Mayer’s ten-year reunion was like. In his breakthrough record, Room For Squares, he references an event still four years into the future. Two years later, he released his second record to wide commercial success. Two more years and he would be laying down the pen after completing his third studio record.  That’s three 2x platinum albums written in the course of five years. Take that class of ‘95.

Who from that class would have guessed that John C. Mayer from homeroom would have made it big? Not just big like Carly Rae Jepsen, Ke$ha, or Sham-wow guy big. Mega big. With a media presence like Mayer has had in recent years, it’s difficult to find a bigger personality in today’s entertainment world. What’s great about a retrospective review like this is the ability to take all of these things into consideration when recalling where the artists as big as John Mayer got their start. For this artist, that was Room For Squares.

Mayer’s major label inception begins with “No Such Thing,” arguably the biggest single from the record aside from “Your Body Is a Wonderland.” Co-written by Clay Cook, “No Such Thing” made a big impact on pop radio in 2002. I, myself, recall humming along to the song while running through the halls of the local recreation center where my mother worked at the time. As a child I loved the melodies that committed themselves to memory so easily. As time passed, the counter-melodies and harmonies lent themselves to my ears, expanding the track into a wide expanse of poppy-goodness which I was happy to wade through when scanning through the FM static of my car speakers. Its b-side “My Stupid Mouth” contains a faux-ending, blending conversation and music absolutely perfectly that still pleasantly surprises me with each listen.

The third single from the album “Why Georgia” is a contemplative one. “…am I living it right?” Mayer’s songwriting prowess made its debut here. The wordage is so strong and unheard, you can’t help but notice and admire the songwriter’s ability. Catchy and driving as well, “Georgia” is a mainstay on my summer playlists to this day.

Mayer continues to explore his songwriting techniques with the record’s second and most widely known single, “Your Body Is A Wonderland.” It’s intimate and, like most of Mayer’s songs of this period, paints a picture of the scene (I imagine an oak four-poster with sheets of a high thread count. The dude is loaded right?) Forever on the teenage lovers mixtape, “Wonderland” is outshone by the following track, “Neon.”

Driven by a catchy guitar loop stuck on repeat, “Neon” is just as bright and attractive as the “open” signs hung in bar windows. This is a true jam and a true Mayer fan’s jam at that. I recall many a post-school bell parking lot session just singing along, my friends doing their best John Mayer live faces. Good times.

Songs like “City Love,” “Great Indoors,” and “Not Myself” have stood the test of time despite being overshadowed by the towering giant that is the first half of the record, but they still pale in comparison to the nostalgic anthem “83” and lyrical field-trip “3×5.” Nevertheless, they contribute great lyrical substance to the album. I will say that “Not Myself” is the only song on the album I don’t know the words to in full, after almost ten years of listening. “City Love” however is masterful in its lyrical craft and can’t help but be remembered.

To be a kid again… Mayer recalls simpler times with “83.” Before Hollywood actresses and Playboy interviews, there was a little boy with Snack Packs and action figures. Writing back to that version of himself gives us a great tune that’s carried out by small guitar and percussive breakdown detailing the anguish of lost childhood memorabilia. (Where is my erector set mom?)

“3×5” will always remind me of my grandfather who carries the cards of such dimensions in his breast pocket on a daily basis. This song really captures the early ’00s pop-rock sound I so dearly crave in this now all-digital world. Replicating the sound made by songs such as this or perhaps Josh Kelley’s “Amazing” is no longer an easy feat it seems. It’s a shame – the majority of this album crafted my taste in my youth and is now reminding me that I’m getting old and my tastes are becoming dated.

“Love Song For No One” and “Back to You” round out the record with some more pop licks and melodies that keep the listener singing right into the somber but great “St. Patrick’s Day.” While titled after a March holiday, it’s a winter holiday tune with throbbing hums of bass guitar and ringing bells. A perfect closer to the album, much like Christmas to the end of the year.

Room For Squares has remained one of my favorite pop records throughout time, only being joined by more of Mayer’s discography like Battle Studies which is being reviewed by Riley-Scott McClellan here. If only more albums from that time could have that lasting power like JM’s debut.

Mayer didn’t really get around to his more bluesy guitar work until Heavier Things in 2003. His debut showed us the pop side that he yearned to pursue after calling it quits at Berklee College of Music. This is where his journey began. This was the starting point. Not too bad for a kid from Connecticut. Say what you will about the man, but he’s a master at his craft, whatever he decides that craft will be.

This review was originally published by Under The Gun Review.

Artist: Jason Mraz
Album: Love Is A Four Letter Word
Genre: Pop/ Soft Rock
Label: Atlantic Records

It’s been 10 years since Mechanicsville native, Jason Mraz released his breakout album Waiting for my Rocket to Come. That marks a decade of “Jason Mraz” being the answer to the oh-so-common question “Who is your favorite musician?” Since the tender age of 9, I have claimed Jason Mraz as my champion of pop radio and he has kept that title up through his 2008 success We Sing. We Dance. We Steal Things. This month, Mraz released his fourth studio album Love Is A Four Letter Word and to be quite honest, I didn’t take to it well upon a first listen.

When I received my copy of the record, my anticipation had finally peaked. When I pulled up my media player, it inched just a bit higher. After hitting play, I was greeted with something familiar. The lead off track was “The Freedom Song,” a cover. Originally by Luc and the Lovingtons, Jason took this reggae-pop jam around the world, singing with former child slaves and at freedom rally’s in 3rd world countries. On the record, he added some horns and more pop-driven elements. While it wouldn’t be my choice for the beginning of a new album, I can guess the reasoning behind the choice.

Song 2, however is one of the best on the record. “Living In The Moment” is a nice smooth jam about, well, you can guess. Full of catchy rhythms and pop mega-hooks, this was the first song that made me reconsider this record. You see, after a first listen, I was NOT convinced. The album as a whole is extremely “chill”, matching the vibes Mraz has been giving off since acquiring a bunch of bucks from the mega hit “I’m Yours.” Touring around the world with sandals and a fedora with a tummy full of veggie burger and tofu mellows out a guy, I guess.

That said, I’m not implying that the man has lost any amount of talent or style. He may not be the wizard  of ooh’s and aah’s and fa-la-la’s, but he still has the ability to pen some fantastic pop classics. Perhaps the strongest and most covered song on the record is the almost whispered “I Won’t Give Up,” which warranted a few dozen plays once purchased from the iTunes store. Sure, the themes are a bit hippy-esque, but is that really a turnoff? At least the songs are sincere.

In addition to the soft pop-rock staples, there are some really cool tracks with a dash of soul tossed in as well. “5/6” is a prime example. The bass is welcomed. The majority of Love is still really smooth and well-humored. “Everything in Sound” is the anthem to any music lover, “Frank D. Fixer” is the best and only grandfather tribute song I’ve heard from a major label recording artist, and songs like “The World As I See It,” “In Your Hands,” and “93 Million Miles” are endearing and warmhearted. After all, the album is based on that four letter-word any protege of Barney Stinson fears hearing.

While Mraz may not be “all about the wordplay” anymore, he has shown that he can stay on the Clear Channel airwaves. For me? I think the singer played it safe. Each song has the ability to get some radio time, but there isn’t anything in particular that stands apart from the rest. I love the record as a whole, but the signature styles that hooked me in the beginning are almost completely absent. With each record he releases, I find myself grasping to find new things to hold onto. Perhaps it’s progression, or artistic growth, or any other cliche that can be tossed into a major artist review. I’m calling it conservative.

Score: 7.5/10

I published this piece on my 19th birthday, just before my mom and best friend came down to my college campus to hang out and eat cake. It wasn't until later that evening that I logged on to check how the post was doing and saw messages from friends telling me that not only did the post get around, the singer of the band I was writing about wrote a response.

This is the piece I'm still recognized for in my career as a music writer. For years, Google would suggest "from under the cork tree" after anyone typed my name into their search fields.

Below I'm including the full piece I wrote, as well as the blog post Patrick Stump wrote in response. It has since been pulled from its original domain.

When I was in the 6th grade, things were far simpler than they are now. These things were undemanding in most respects, but growing more socially complicated by the day. Middle school was that time in my life when girls became attractive, attitudes changed, friends changed, and growing up truly began. I recognize the growth that began in junior high as a part of who I am. In conjunction with my social growth, came my newfound hunger for music.

I found the cure to growing older and you’re the only place that feels like home…

In my youth, I was heavily guarded by my parents in most aspects of life. I was a Boy Scout and church-going boy with straight A’s and soccer as an interest. I was a good kid. The kind my mother was proud of. I didn’t swear or get into trouble, I had good friends and made responsible decisions. My internet access was limited by dial-up, AOL child-locks, and previously determined web-browsing time. Middle School was pretty normal for me until something new came along. That thing was Chicago based, pop-punk band Fall Out Boy and they were not allowed. My first illegally burned album was Fall Out Boy’s From Under the Cork Tree and when I received my copy, I learned a few things.

I’ll be your best kept secret and your biggest mistake…

The first was that my friend Josh could not properly operate Windows Media Player. My copy of FUCT was missing track 1. For those who have heard “Our Lawyer Made Us Change the Name of This Song So We Wouldn’t Get Sued,” I’d appreciate if you didn’t play it for me when I’m riding in your car at high speeds or locked in a bomb shelter with you. It isn’t that I don’t like that song. In all likelihood, I’ve probably heard it. Upon hearing my tale, people have offered to send me the track to complete the CD. That’s, of course, very nice of them but you see, From Under the Cork Tree is still a very special album to me and my copy is complete as far as I’m concerned. Adding that unknown song to the beginning of it would ruin the feeling that I still get from hearing the first guitar rip on “Of All the Gin Joints in All the World.” My From Under the Cork Tree is only 12 songs long and that is how it will stay.

You only hold me up like this ’cause you don’t know who I really am…

The second thing I learned was that my mother is not a fan of obscure lyrics referring to sex and blasphemy. I recall a car ride with my mother that featured me sitting in the back seat (like I said, I was guarded) with my portable CD player spinning my incomplete copy of FUCT quite loudly. It was early summertime. During a pause in-between tracks (again, Josh sucked at Windows Media Player) I heard my mom cycling through radio stations as she usually does. Upon hearing a snippet of “Sugar We’re Going Down,” I immediately paused my disc and told my mother to go back to that song. Yes, I paused the CD that song was on to hear it on the radio. Back then, hearing a band you know about was exciting, not depressing. After years of listening to bands my parent’s knew that I didn’t on national radio, I finally had one on them! My mom went back to the station (Q 104.1 for any Akron/Cleveland area readers) and listened along as I watched her face in anticipation. Perhaps I hoped she’d like it and take me to a concert, or maybe I wanted her to know I was listening to something a bit more risqué than pop-country or Jason Mraz. Regardless, she listened, the song changed, and I went back to my CD.

I know this hurts, it was meant to (it was meant to). Your secret’s out and the best part is it isn’t even a good one and it’s mind over you don’t, don’t matter…

Upon returning home that night, My mom called me into the dining room where the computer cabinet was contained. Curious, I answered her call to find her looking at the lyric sheet for “Sugar, We’re Going Down.” This is when she asked me, “Jake, what do these lyrics mean?” I was 12, I had no clue. They were catchy and the music video had a deer-boy in it. That was enough for me. Hell, I thought Patrick Stump was British for a full year and that the singer always wrote the songs. I was in ignorant bliss. My answer didn’t appease my mother who had a concerned and irritated look on her face. This face remained as she told me, “I don’t want you to listen to this band anymore.” Luckily, my mom wasn’t aware that I had my coveted burned CD, so I continued my listening in secret. The songs were even better than before. Why? Well, that’s because I wasn’t supposed to have them of course. The “forbidden fruit” effect was placed on pop-punk music and thus, my departure from good boy Jake began.

Are we growing up, or just going down? It’s just a matter of time until we’re all found out. Take our tears, put ’em on ice, ’cause I swear I’d burn the city down to show you the lights…

I’ll admit that FOB was not my first banned artist. Rap was an absolute no-go in the Tender household and my friend Jimmy was a big Eminem fan. I listened to Slim Shady’s music every time I was there while playing Duke Nukem, Grand Theft Auto, and a plethora of other blood-filled first person shooters. The difference here is that I was listening ONLY because I wasn’t allowed. Rap wasn’t my thing. Granted, everyone has a rap phase, but the semi-censored Curtain Call never stood up to the lasting influence Cork Tree had.

They call kids like us vicious and carved out of stone. But for what we’ve become, we just feel more alone…

From Under the Cork Tree was the first CD I listened to on repeat for days, months even. It was the first album for which I memorized all the lyrics, inflections, and harmonies. Fall Out Boy was the first band I learned all of the members names for. Patrick Stump was my “favorite singer” for at least 2 years. I joined AIM chat rooms and sought out others who listened to FOB. I didn’t like those pretentious assholes who didn’t like anything after Take This To Your Grave. I now recognize that I’m one of those assholes, but I still fume when some of my favorite records are so easily discredited by ignorant semi-listeners.

I’m the first kid to write of hearts, lies, and friends, and I am sorry my conscience called in sick again, and I’ve got arrogance down to a science. Oh, and I’m the first kid to write of hearts, lies, and friends…

From Under The Cork Tree transformed me from book-worm to music-nerd. I began to seek out related and unrelated music and bands. My library grew, my media player changed (WMP, MusicMatch Jukebox, and finally Winamp), and my focuses changed. From this album on, my conversation starters turned to be band/song based, my friendships started revolving around similar musical tastes, and my music library’s correctness took precedence over my homework’s. Without Fall Out Boy’s influence in middle school, I would have never taken that leap into alternative music and my favorite artists today may have never found their way into my ear canals, I would most definitely not be writing this or any other music-related article or review. From Under the Cork Tree is one album I will always cherish and it’s due credit. After all, without it, you’d have never read this.

We Liked You Better Fat: Confessions of a Pariah

by Patrick Stump

There’s this really nice piece at underthegunreview.net by Jacob Tender that a friend forwarded me today. It’s about how important Fall Out Boy’s album “From Under the Cork Tree,” was to him. After reading it though, nostalgic and well-written as it was, I really found myself more depressed than anything. It’s a complicated feeling, one that I’ve been incapable of explaining to anyone and have them fully understand. In spite of this though, I suppose I will give it the old-I-didn’t-go-to-college-try:

Tender had one line that really hit home for me. I related to it in terms of my feelings towards other artists, but I also winced at the profound implications it touched on in my own professional life:

“I didn’t like those pretentious assholes who didn’t like anything after Take This To Your Grave. I now recognize that I’m one of those assholes, but I still fume when some of my favorite records are so easily discredited by ignorant semi-listeners.”

The reality is that for a certain number of people, all I’ve ever done, all I ever will do, and all I ever had the capacity to do worth a damn was a record I began recording when I was 18 years old.  That I can live with. That’s fine and fair; I have those records in my collection that seem to stand out far above the rest of my favorite artists catalogues (and especially for artists in whom I only have a passing interest). I suppose there’s nothing wrong in thinking I’m at a point in my life where it seems I’ll never catch up: If anyone’s going to appreciate the work I’m making, it won’t be until long after I’m done doing it. Again, this is fine: I’m insanely lucky to even imagine anyone ever appreciating anything I ever do, let alone in real time. Countless artists far better than I have only achieved posthumous acclaim. If I am to be obscure and financially unsuccessful, there’s nothing disheartening in that. The thing that’s more disheartening is the constant stream of insults I’m enduring in my financially unsuccessful obscurity.

Fall Out Boy’s last album Folie A Deux was our most critically panned and audiences openly hated it (it was also our poorest selling major label album even if one adjusts for the changing music economy). Now, that’s not to say it didn’t have its fans, but at no other point in my professional career was I nearly booed off stages for playing new songs. Touring on Folie was like being the last act at the Vaudville show: We were rotten vegetable targets in Clandestine hoodies.

That experience really took the wind out of the band’s sails; It stopped being fun. I suppose I’m just not that thick skinned. So perhaps it was even more ill-advised when I went out and did something I’d always wanted to do; make my album and have it released by Island Records [my solo record Soul Punk]. I coincidentally happened to achieve another goal which was to lose the weight I’d been carrying around since a month-long drinking binge after a bad breakup. Those accomplishments were happy things. Living in the moments of achieving them were perhaps among the happiest in my life.

So when I went out into the world to show off the self I felt like I was happiest and most comfortable being, I suppose I knew there would be the “Haters” [I loathe the clumsy/insufficient word but it seems the most universal]; The elitists that would always prove impossible to please.  I had always been prepared for “Haters,” because there’s never been a moment since I graduated high school where I haven’t been the guy in “That Emo band.” First said emo band was dismissed as third rate pop-punk played by hardcore kids…a pale imitation of Saves the Day. Then we were swept up in the emo backlash [I really didn’t know we were an emo band…that’s not what the word meant a decade ago]. To this day my favorite writer at cracked.com will occasionally take swipes at my band as one of the worst things to come out of the 2000’s. We were a (albeit funny) running joke on an episode of Children’s Hospital.

Those examples of “Haters,” were people who never liked me (or at least never liked my music) and, by all rights, never really should. Such is the way of things. Different strokes for different folks as it were. What I wasn’t prepared for was the fervor of the hate from people who were ostensibly my own supporters (or at least supporters of something I had been part of). The barrage of “We liked you better fat,” the threatening letters to my home, the kids that paid for tickets to my solo shows to tell me how much I sucked without Fall Out Boy, that wasn’t something I suppose I was or ever will be ready for.  That’s dedication. That’s real palpable anger. Add into that the economic risk I had taken [In short: I blew my nest egg on that record and touring in support of it] the hate really crushed me. The standard response to any complaints I could possibly have about my position in life seems to be “You poor sad multi-millionaire. I feel so sorry for you.”

Quite right, I still have access to enough money to live on in order to avoid bankruptcy for at least a few years as long as I stick to my budget, but money really isn’t everything and it never was. Perhaps those are the words of a privileged man who doesn’t really know what poverty really feels like. Again, that would be a fair rebuttal; I wasn’t raised rich, but lower middle class upbringing in early 90’s Midwest US of A is still a far way from the bread line. Still, there’s no amount of money in the world that makes one feel content with having no self respect. There’s no amount of money that makes you feel better when people think of you as a joke or a hack or a failure or ugly or stupid or morally empty.

This of course isn’t Tender’s fault. He never said anything negative and indeed only said great/supportive things. I guess I’m just angry because he illuminates why I’m a 27 has-been. I’m a touring artist and I feel I’ve become incapable of touring anymore with any act…whether I were to go out as a solo artist or do some Fall Out Boy “Reunion” [nope: Still never broke up] or start a new band…there will still be 10-20 percent of the audience there to tell me how shitty whatever it is I’m doing is and how much better the thing I used to do was. Not only that, but that 10-20 percent combined with whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again. I can’t even go back to playing basement shows. As the saying goes: I couldn’t get booked at the opening of a letter.

It’s as though I’ve received some big cosmic sign that says I should disappear. So I’ve kind of disappeared. I know a lot of you have wondered where I’ve been. I’m sure others of you are disappointed to hear I’m still kicking around somewhere (kidding…sort of). But the truth is wherever and whoever I am, whoever I am whenever I release whatever release is my next, whoever said recording is recorded with: I will never be the kid from Take This To Your Grave again. And I’m deeply sorry that I can’t be, I truly am (no irony, no sarcasm). I hate waking up every morning knowing I’m disappointing so many people. I hate feeling like the awkward adult husk of a discarded once-cute child actor. I’m debating going back to school and learning a proper trade. It’s tempting to say I won’t ever play/tour/record again, but I think that’s probably just pent up poor-me emotional pessimism talking (I suppose can be excused of that though right? I am the guy from That Emo Band after all).

I’ve managed to cobble together some work…I’ve been moonlighting as a professional songwriter/producer for hire and I’ve even been doing a bit of acting here and there. I have no interest (and evidently that sentiment is reciprocated) in performing music publicly any time soon but as I’ve said I’m sure that will happen when it happens. I have been debating releasing the unfinished follow-up to Soul Punk. We’ll see what happens there. Still no word on Fall Out Boy…I know Joe’s working on his new record and Pete’s mixtape just came out so I don’t expect anything on that front in the near future. I, as always, would be super psyched to do the band again though. I’ve been watching a lot of Downton Abbey and I’ve finally caught up on the Office. Friends have been turning me on to all the records I’ve been too busy to listen to over the past couple years.

I do suggest reading Tender’s column if it sounds interesting to you; He’s a great writer and it’s a fun/relatable little story regardless of who the band is within it (film adaptations of Nick Hornby novels should be proof of that).

This review was originally published on Under The Gun Review.

Artist: Fun.
Album: Some Nights
Genre: Pop/Indie

Some bands are so unique, so distinct, that no amount of effort could ever be put forth to replicate the sound that has been captured by those artists. Fun. is absolutely one of those bands. Unequaled and rare, this trio of seasoned musicians has expertly blended their sounds, yet again, for an insurmountable collection of songs that is destined for repeated play.

Some Nights is the second studio album by the New York based group, following the success of their 2009 debut Aim and Ignite. As previously established musicians in formerly successful bands, Nate Ruess, Andrew Dost, Jack Antonoff fused their styles with ease and released their joyous indie pop upon the world to critical acclaim. Here are my thoughts…

Some Nights takes the magic from Aim and Ignite and sprinkles it over a Pro-tools session full of more contemporary songs, undoubtedly prepared for massive amounts of radio-play. The album was expertly produced by Jeff Bhasker (Billy Kraven) who has produced pop stars such as Kanye, Beyoncé, and Alicia Keys. The production value of this record is, without question, a major player in the longevity this album is fated to endure.

Now, before you begin complaining that Fun. has gone mainstream, take a moment to remember what is on the Top 40 charts. Fun. is something clearly different that the rubbish currently in rotation and could do Clear Channel some good. Radio-ready tracks would include the title track as well as the already familiar “We Are Young.” Others, like “Carry On,” “One Foot,” and “All Alone.” would also do quite well in certain cities, I’m sure.

The title track is subtle and sincere, carried by layers upon layers of vocals. This (coupled with the introduction) draws in those accustomed to Fun.’s signature theatrical style. Where some listeners might be turned off is an interesting incorporation of a vocoder effect that has been heavily dumped onto Reuss’ vocals at the tail end of the bridge.

Upon a first listen, it sounded downright unnecessary. “Why change what’s already perfect?” I thought. After multiple plays, however, I’ve found it a welcomed and unique addition. It is a tasteful use of an effect ruined by mainstream pop producers determined to shove vocal manipulation down our throats.

“Carry On” is debatably the best song on the album. The soaring vocals and an infectious guitar mini-solo carry its uplifting message. The musicianship of these artists is, indeed, impressive. That fact isn’t always highlighted, however. Songs like “It Gets Better” contain compressed instrumentation that merely provides a foundation for the synthetic elements that accompany indie dance melodies.

A highlight of the record is “Why Am I the One.” There are Chicago-esque vocal falloffs that evoke certain memories of my childhood, sitting on the stairs by the disc player flipping through my dad’s music catalogue. It’s familiar and contemporary at once. I wouldn’t be at all surprised to hear this tune playing on grocery store speakers this Spring.

Rounding out Some Nights are uncontrollably catchy “All Alone,” the heavily vocoded “Stars,” the brilliantly confident “One Foot,” and a late 80’s reminiscent bonus track dubbed “Out on the Town.” The weakest point of this primarily solid album would be “Stars.” With that being said, it is still a fun tune and it works cohesively with the other songs.

Some Nights is another solid addition to anyone’s music library. Old fans will love the new songs and new fans will be crawling out from the woodwork in no time. When it comes down to it, Ruess, Dost, and Antonoff are song-crafting professionals who just get it. Unfamiliar with Fun.? Don’t believe me? tl;dr? Pick up Some Nights for yourself to figure out what all the chatter is about.

Score: 9/10

This review was originally published by Under The Gun Review.

Artist: Daniel Rinaldi
Album: Self Titled EP
Genre: Pop
Label: Unsigned

I’m a sucker for pop music. Those who know me well know that this is no secret. To me, there is absolutely nothing better than a good toe-tapping tune with a catchy melody that refuses to leave. That being said, I’ll alter my opening statement to clarify what I mean by “pop” music. By today’s standards, pop music includes such dross as Ke$ha, Flo Rida, and even over-produced members of Glee. These radio monstrosities are not included in my definition or music library. This is trash.

The pop music I grew up with includes Matchbox 20, The Backstreet Boys, Jason Mraz,  Tal Bachman and the like. Good, old-fashioned 90’s/00’s pop rock. Those who, like me, listened to these artists in their early years and later picked up instruments of their own took to creating their own styles of popular music and thus bands like Parachute, Train, The Script, and The Cab were born.

Daniel Rinaldi is not much different in that respect. His debut self-titled EP is a powerhouse of pop and contains everything necessary to commandeer Clear Channel for some well rightful recognition. (now, say that 5 times fast.) Good, since you’ve got that memorized, dial up your radio station’s number and request that Mr. Rinaldi be played while I continue with this review. Let’s get to the goods…

In 2006, Dan Rinaldi joined the band Bedlight for Blue Eyes at just 18 years old. This led to the 2007 release of the band’s second full-length album Life on Life’s Terms (Spotify) which received positive reviews. The addition of Rinaldi sent the band in a completely different direction. Ditching the heavy rock sound for a far more poppy one. Rinaldi shown through, his vocals being the highlight of the record. After 3 years of touring with acts such as New Found Glory, Senses Fail, and The Receiving End of Sirens, Dan met up with Producer Adam Richman and smashed out some solo demos at The Bucket NYC. This led to the EP that is now prepared for its February 7th release.

The vocal work on the EP is a far cry from what was heard on his material with Bedlight. A lot of maturity has occurred in the 5 years bridging these two important points in this young man’s life. The production is impeccable and deliberate. There are countless elements and melodies that bob and weave throughout each of the 5 tracks. The instrumentation is simple and driving, setting the vocals up for some heavy dynamics.

The lead in song “Keep on Dancing” begins acoustically and hooks you with some creeping guitar melodies and an upbeat rhythm that  leads to a sweetly sung verse. It’s a song of professed dedication to a significant other and has a magnetic quality to it that captures the ear and refuses to let go. It’s best to just give in and bob your head at this point. Rinaldi leads of his EP with some brawny displays of vocal prowess.

“Hurts Like Hell” immediately begins to build with several interwinding instrumental melodies that pave the way for a powerful blast of vocals that kick off this dignified anthem of desperation and aguish. Rinaldi has a indisputable ear for counter melodies that cover the entirety of the album, this song is no exception. Go ahead, sing along.

The first preview off of the EP was “One on One” which is easily the most solid song on it. Radio ready, this soaring single is sweet and engaging. The double tracked vocals fill the space left open by the piano and hi-end rhythm section. If you don’t fall in love with Rinaldi’s work at this point, there is really no reason you should be 600 words deep into this piece. The kid is good. You’d better believe it.

“Out of Control” is the most fun you can possibly have while listening to an incredibly sad and problem-aware song. The accents of this song are put in the off-beat, instilling a care-free reggae feel, while in fact the lyrics are calling for care. Mindfulness is the theme here and it is expertly delivered with some brass in tow. Track 4 is a strong one.

The EP rounds itself out with my personal favorite, “Shut Up.” This song is terrifically upbeat and bright. In fact, my foot is tapping so violently right now, it’s becoming difficult to write. The lyrics are sure and stylish, and delivered with a hesitant resolve. He’s got something to say, that’s for sure, but he’s doing his best to hold his tongue. This song perfectly ends a perfect EP with some definitive flair.

Daniel Rinaldi’s debut is a strong one. Pop lovers the world over will enjoy the Michael Bublé-esque qualities to both the vocal and instrumental facets of production and the lyrical aspects to boot. I’d recommend this record to fans of Train, The Script, Boyce Avenue, or pop music in general. Try as I might, I couldn’t find anything worth docking any points. The production is perfect, the vocals are top notch, and the music is catchy as hell. This is a special EP. Don’t miss out.

Buy it here on February 7th (iTunes)

Score: 9/10

This review was originally published on Under The Gun Review.

Date: 11/6/11
Venue: Bogart’s
City: Cincinnati, OH
Acts: Panic! at the Disco, Patrick Stump, Foxy Shazam

In my younger days, the music of Fall Out Boy caught me and shoved me headfirst into the world of alternative music. My affinity for the work of those Chicago boys led me to the debut record of a new band on Pete’s new label, Panic! At the Disco. I fell in love with the raucous, refined, and risqué baroque pop that bled from A Fever You Can’t Sweat Out.

I never had the opportunity to see Fall Out Boy while they were together, so finally watching the front man of one of my long time favorite bands was an exciting conception. How backwards though, I thought, that Patrick Stump is opening for a band he had, in part, found. It’s understandable however. Stump’s solo career is barely off of the ground, with a debut record released within the past month.

Let me clarify that I don’t believe Panic undeserving for the headliner spot. They’ve worked unbelievably hard since their days in high school. They’ve gone from writing songs with obnoxiously long titles to an album inspired by The Beatles and Pink Floyd to a sweeping pop-rock classic. Finally having the opportunity to catch both Stump and Urie on stage was a thrill. However, they did not open the show and this is not where my night began.

It’s a chilly night on the streets on Cincinnati, Ohio as UTG contributing photographer Aj Schweinhagen and I walked to Bogarts. We arrive and find that we were going to be having some issues with the photo passes that we had reserved. Patiently, we waited and we eventually made our way inside.

Foxy Shazam was ¾ of their way through an electrifying set. These Cincinnati natives brought the heat for this hometown show, which was also the last of their stint on the tour. Never have I ever seen such a display of on-stage debauchery. It was spectacular. The performance can hardly be described. The words creepy and whimsy come to mind, with a wishful dash of lunacy. For those who have seen the band perform before, this is to be expected. A modern comparison to Freddie Mercury, Eric Nally brings the mystery (and the mustache) every time he jumps onto the stage.

Patrick stump lit the room with an opening favorite, “Spotlight.” This initiated the crowd’s movement. The movement wouldn’t cease until the respite at the end of his set. Stump played through the heavy hitters from his debut record Soul Punk. “Explode,” “This City,” and “Everybody Wants Somebody” drove the crowds into fits of screaming and several water-depraved girls were escorted from the floor by means of fireman’s carry. Drink up kids, it’s hot and stuffy in there.

Finally, Panic! at the Disco took the stage for the longest live set I’ve seen since John Mayer. Brendon Urie’s souring vocals were without flaw in a set list carefully made to appeal to all parties. A majority of the songs were from the first and third records with a sprinkling of Pretty. Odd.. The entire set was a highlight as there was no stop to the hits or to the fan’s insistent screams.

For “Always” Urie broke out the acoustic guitar and graced the piano for several of the newer songs. As a special treat, Panic performed two covers. First was Neon Trees’ hit single “Animal” which was shortly followed by “I Believe in a Thing Called Love” by The Darkness. “Nearly Witches” ended the night perfectly with a repeated “goodbye, goodbye.”

The show was much needed and a great time. Three fantastic bands, all of which knew what they were doing made for a memorable night. Bogarts, thank you for your hospitality and assistance. The venue is beautiful and well staffed. The lighting and sound are among the best I’ve seen.

Photos taken by Aj Schweinhagen below.

Panic! at the Disco

Patrick Stump

Artist: Alesana
Album: A Place Where the Sun Is Silent
Genre: post-hardcore/ emo
Label: Epitaph

In a genre as crammed as post-hardcore, it’s easy to become bored with the mundane. As more and more teens flood Purevolume with their generic breakdowns and predictable band names, I find myself more and more apt to ignore the cookie cutter style that has been whittled down to nothing more than mere sound.

However, when I begin to consider the genre obsolete, I look to one band in particular to resuscitate my love for the clean/unclean vocal combos and epic lead ups to the foreseen, yet endearing, breakdowns. North Carolina’s Alesana is the deliverer of the heinous monotony their genre is afflicted with. I’m not alone in thinking this. Alesana has always been one of those bands that have a deeply committed fan base that will fully support whatever it is that they create.

Alesana’s latest effort, A Place Where the Sun Is Silent is the anticipated follow up to the breakout hit The Emptiness, a concept album loosely based on an Edgar Allen Poe poem. The Emptiness was well received by many who took the time to dive into the story and denounced by countless critics. As The Emptiness was my 2010 album of the year, A Place Where the Sun Is Silent had a lot to live up to in my eyes.

Alesana’s Epitaph debut has 16 tracks yielding over an hour of listening. This, in itself, gave me optimism before I even pressed play. As I see it, longevity is creativity, and as far as that goes, Alesana’s got it. The Emptiness gave fans a good first look at what the band’s idea of a modern day rock opera could be. A Place Where the Sun Is Silent showed that they could polish that idea both sonically and creatively.

The progress in sound between the band’s major releases is impresses to say the least. While The Emptiness was intended to be frantic and unkempt, it also showed a huge development from the immature sound Where Myth Fades to Legend brought about. In the case of the latest release, the amount of refinement is imposing.

While the trademark screams of Dennis Lee are still predominantly prevalent and unchanged, the clean vocals of Shawn Milke seem more subdued than usual. While still powerful and melodic, they lack the shrillness that has become customary. This is on the production end of things however, Shawn is by no means holding back.

Musically, Alesana has taken enormous strides. A Place Where the Sun Is Silent features shrieking guitars, classical piano, orchestral interludes, and pop washed melodies. Moreover, the use of choir, brass, strings, and spoken word is a true testament to the talent this band holds. They’ve, again, created a true opera, changing moods with sound. There are countless elements to the album that put it far above similar releases.

Pop tracks such as “A Forbidden Dance”, “Lullaby of the Crucified”, and “A Guilded Masquerade” provide plenty of catchy hooks. If it’s heavy you want, “Circle VII: Sins Of The Lion” or “The Fiend” will satisfy. Of course, in true Alesana Style, there are a few piano heavy tracks that provide a marvelous contrast periodically throughout, “Vestige” being the preeminent of those. The variation allows for the gratification of a vast array of listeners.

If Alesana is known for one thing, it’s their ability to tell a story. A Place Where the Sun Is Silent follows a story inspired by Dante’s Inferno. Shawn Milke, an English major, has always had a way with taking the story I hated in high school and adapting fragments of that story into melodic masterpieces that I just can’t get enough of.

While I enjoy their spin on the Divine Comedy, it just doesn’t compare to The Emptiness.  The story that accompanied their last record had me enchanted. A Place Where the Sun Is Silent falls just short. Perhaps that will change when I get my hands on the booklet and the full narrative, but until then, it’s just below the bar they set in 2010.

The thing about Alesana that I enjoy so much is the depth that they bring to every aspect of their music and the constant improvement and commitment that can’t be paralleled by any other band that you would normally find them on tour with. A Place Where the Sun Is Silent is a solid release with major improvements in the music and composition. I favorably recommend A Place Where the Sun Is Silent and all of Alesana’s music. Look past their emo exteriors and dig into the mystery these boys create.

Score: 8.5/10

This review was originally published on Under The Gun Review.

Artist: Coldplay
Song: Princess of China (Feat. Rihanna)
Genre: Pop
Label: EMI

One of the popular trends in pop music today is, of course, the featured artist. You see it in every Akon song title, “(Feat. anybody).” It get’s old, but it’s a money maker, so the trend persists. Many of these radio-ready singles are full of the same nonsense the learned music appreciator would expect. Techno beats and drop with candy-coated, autotune-heavy vocals are accompanied by a drop-in rap verse.

These “collaborations” aren’t always terrible capital garnering jingles however. Some turn out to be successful due to pure talent and creativity. For example, the new Coldplay single, which you can listen to here, is a result of a well thought out idea.

Chris Martin didn’t simply ask Rihanna to sing on this song for her name. I mean, come on, it’s Coldplay. You don’t get much bigger than Coldplay. Chris timidly asked the superstar to lend her vocal prowess to the song due to the contrast their vocals have with each other. The result of her consent is a solid waveform of ambiance and grace. In “Princess of China,” Rihanna shows a new side to her vocal ability. While maintaining the power and melody one would expect, she also croons a beautiful chorus and some alluring oriental tones in the background of a unquestionably honest track.

The dissimilarity between the two vocalists is flawless. The harmony is unexpectedly sweet and endearing. To say that the pairing is unorthodox is questionable. It isn’t one that is completely baffling, but not one that most would conjure in their heads. Regardless, I’m quite happy with the result and think the song will do quite well. As it should.

Overall score: 9/10

Enter
Let me start off by saying that this was my first Vans Warped Tour experience. I never really felt the need to go, but this year I felt drawn to it. The line-up was half decent and several industry folk that I felt the need to meet were going to be there. What a day I had ahead of me, I planned on being busy the entire day. That being said, I suppose I’ll begin my story where most stories begin, the beginning.

It's about 7:00 am when I wake up, shower, and pour my cereal.... I'm not going to bore you with my mundane morning rituals. Moving on... 3 friends and I arrive at the venue's vehicular entrance with high hopes of being early (time check: 9:15). We of course were greeted by a line of cars bottle-necked at the Blossom Music Center entrance. 4 lanes, zero movement. Spectacular. As the line of aggravated teens blasting their alternative band of choice slowly crawls forward, 2 friends and myself decide to leave our 3rd friend in control of the vehicle so that we could walk to the gate and purchase our tickets (friend 3 bought ahead of time). The tickets were purchased, the car was parked, sunscreen was liberally applied to those with sensitive, non-Italian skin, and we joined the line to enter the grounds.

After a grueling wait in the small area before the gate (which resembled a tin of sweaty sardines) for about 20 minutes, the gate was opened. We were free to seek shaded places to sit. This was beginning to look like a hot and rotten day. Nevertheless, I kept my optimism up and I ventured solo around the grounds to memorize the layout before crowds of people hindered my vision. I checked my text messages and discovered I could knock out one meeting within the first hour of my Warped day. I met up with Christian Wagner (Give Blood Management, Absolutepunk.net) at the Ernie Ball Stage where he was chatting with my hometown pop punk favorites, Call It Fiction. Unfortunately, Christian is a very busy man when in Warped Mode, so our conversations would have to continue at a later time.

Asking Alexandria
I had originally planned watching this set, but my chats with Call it Fiction's lovable synth player, Alex Tucker kept me away from the madhouse that would soon find at the Main Stage. Being the only one of my friends thoughtful enough to bring a proper backpack (Eagle Scout preparedness); I was coerced into holding various items for them. I was waiting for the crappy band to finish at the Ernie Ball stage when I received text-messaged word that my presence (or backpack rather) was needed at the Asking Alexandria set. I guess a signing was approaching and my friend needed his CD booklets to be scribbled on. So, while I searched for my friend in a sea of shirtless men and women, I listened and watched a few songs of the British rock ensemble's performance.

Let me tell you, in a scene of wannabe, try-to-be and fail-to-be rock and roll outfits, Asking Alexandria stands above with great success. Danny Worsnop exudes rock and roll. Sure, they scream their heads off, but they are a powerhouse to watch. If I didn't have friends playing halfway through their set I definitely would have stayed, but a fella has to represent the home team.

Call it Fiction
This 5 piece pop punk group hails from the Akron/Cleveland area and they have been making quite a name for themselves lately. By winning a contest based on online votes, the band secured a spot at this particular date on the Ernie Ball Stage. I've seen this band play 2 or 3 times before and the incredibly melodic vocals of Elliot Blair, The unclean vocals and energy of Matthew Colwell, and the infectious synth noises spewing from Alex Tucker's keyboard keep me coming. The set was well done, plenty if fun was had with the intimate crowd of old and new fans, and this was the moment I discovered I was completely covered in sweat. If you are a Cleveland native and haven't seen Call it Fiction perform live, get off your bum and watch them.

Earn it Yourself
After Call it Fiction's 12:30 set, I had absolutely nothing I really had any desire to see until 2:45. So, Alex Tucker and I made our way to the front gate to sneak in a few of his friends. This is when I heard about some "secretive" meeting at the Shut Up and Deal tent 5 minutes from that time. Interested, I send notice to my friend Jared (friend 3) and told him to meet me at the SUAD tent. Turns out, I stumbled upon the perfect opportunity to meet up with many of the industry folk that I wanted to see, all in one place. The meeting was called Earn it Yourself, or EIY. We walked through the Blossom Administration Building (decked out with AC) and we found ourselves seated under a tent around back.

The point of the meeting was simple, teach youth how to enter the industry and do their part to build a better local scene. We met with Kevin Lyman (founder of the Warped Tour), Mike Shea (Founder of Alternative Press), Christian Wagner, some other Warped Officials, and Shut Up and Deal's lead vocalist, Joe Heafy. They spoke of their experiences and allowed us to ask questions about schooling, strategy, and the history of their careers.

This meeting is exactly what the music scene needs. Making kids aware of the proper methods of conducting business and promoting to prevent music becoming just a business was the main goal. Everyone was very informative and helpful, it was a great experience. To any body who has yet to go to Warped Tour, follow @earnityourself on twitter for meeting times.

August Burns Red
I wasn't an ABR fan before Warped Tour and after today I can safely say that I'm still not a fan of ABR. That's about it.

Terrible Things
When I heard Fred Mascherino (The Color Fred, Taking Back Sunday) and the rest of his band would be playing Warped Tour, I was very excited. I've seen Terrible Things play twice before and I was instantly a fan. With the loss of Andy Jackson (Hot Rod Circuit) the band hasn't lost its stride too much. Their set was as solid as ever. This is a band anyone should get into. Their self-titled record is fantastic. I spoke briefly with Fred after gates closed and he said that they tentatively plan on writing some new material in the next several months.

Dance Gavin Dance
Anybody who knows me well will know that I have little to no respect for Jonny Craig. However, despite his horrid personality and poor decision making skills, he is still one hell of a singer. The control he has is as phenomenal as ever. I hadn't seen him perform live before, so today was quite impressive. For a fella who never got into Dance Gavin Dance's material, I really enjoyed their live performance. Jon Mess is also a magnificent performer and vocalist. His screaming technique is not only powerful, but understandable. If it wasn't for the pesky Blossom staff lady constantly telling me to move from where I was standing the set would have been perfect. Somehow, Dance Gavin Dance can make musical chaos into something great.

There for Tomorrow
Despite the numerous recommendations I have been given about TFT, I never understood the appeal. I didn't plan on even watching their set. Fortunately for them, Motionless in White was playing next on the Ernie Ball Stage. For many, I’m sure their set was fantastic. For me, it was rather dull.

Motionless In White
Now, hear this. Bands like Motionless in White are not bands I usually enjoy listening to or watching. Somehow, I find this group a touch different. Sure, they dress like the gothic kids that hang out in my local cemetery, but under all the makeup, hair die, and piercing there is a positive group of kids that enjoy their music, their fans, and have a fantastic bevy of lessons to convey. The biggest draw for me is the talent and energy Chris Motionless brings to the stage (which was quite small). The man screams like a demon and instills either a sense of fear or an involuntary sense of belonging. The crowd was far too big for the tiny stage they had to work with, but they made do and made their last date on the tour one to remember.

Shut Up and Deal
There is something I love about smaller bands at Warped Tour. Perhaps it's the smaller crowds they draw (ergo less sweaty men rubbing against my arm. Maybe it's the fact that the people watching are either diehard fans or are people legitimately interested in finding new groups to follow. I'm not entirely sure. What I do know is that Shut Up and Deal is one of the best up and coming pop punk bands in the industry, and for good reasons.

To put it simply, Shut Up and Deal collectively holds a DIY attitude. This entails a lack of management, funding, or agents of any kind. Everything they have accomplished so far can be contributed directly to hard work and perseverance on their part. That hard work has been paying off for them. By landing a spot on the Kevin Says Stage for the entire Warped Tour, Shut Up and Deal are steadily taking over kids' attention every single day.

The set nearly went off without a hitch. There was a minor technical problem with the bass near the end, but everyone performed excellently. Joe Heafy, the band's lead singer is a very charismatic front man. I have not watched a band as young as his play with such comfort considering where he was playing. 200 yards away, Hayley Williams was belting out whatever to a massive crowd of kiddos who evidently can’t get enough of the pasty redhead's head banging and frontwomaning. This didn't bother Joe at all. Instead he made jokes about it, tried calling Hayley from his own stage, and openly wishing he had some confetti to shower his crowd of 40 kids with. The band mainly played through the new EP (which I can't recommend enough), with the odd classic thrown in at the end. The set began with about 25 kids but by the end, the crowd had doubled. Not bad for DIY.

Attack Attack! / Melanie's pictures
I wanted to see Sharks, but I made the mistake of watching Attack Attack! instead. Luckily, our own Melanie Hodgkin’s was in the vicinity taking a breather and I was able to catch up and look through her photos. Let me tell you, this girl is good. At the Cleveland date alone she saw and shot about 10 bands. That is a packed schedule with her two ton camera in tow. Despite the heat and crowds, this lady got some amazing pictures that we all couldn't be more excited to show you. If you are at the Cincinnati date (her 4th in a month) and see a bleach blonde pixie with a camera, be sure to say hello!

The Wonder Years
Suburbia I've Given You All and Now I'm Nothing has reached the #1 spot for album of the year for plenty of us here at UTG and in plenty of other places too. The success the band has made in this year is staggering. I sat down with Mike Shea to watch the pop punkers storm the Main Stage. It wasn't at all surprising to find the owner of Alternative Press there. If you haven't seen or heard about it already, The Wonder Years' ugly mugs will be gracing the cover of the rag for the upcoming issue, leading you into a multiple page report on the band. This coverage is hugely exciting for quite a number of people. The fans of the Philadelphia based band of course are either stoked for their success or incorrectly convinced that the band has so quickly sold out. The person most excited for the exposure is in fact the lead vocalist Dan "Soupy" Campbell. His excitement is mixed with anxiety however.

From all that I have heard or conjured up in my own head, I always pictured Soupy as a pretty normal guy who is just honestly interested in writing and playing music with his friends. I often wondered how he has been receiving the band's recent success. After gates closed, Dan approached Mike and I to thank the AP head for his help and time. He then delved into how extremely new this all is to him. He spoke of the crowds he is playing to at Warped Tour this year. He mentioned that every time he walks out onto the stage he is always surprised to see more than 100 kids waiting for him to play.

"Being so used to basement shows with 60 to 100 kids there, everyday is a huge surprise to me."

To me, the guy is utterly thankful but somewhat frightened of all the attention he is suddenly receiving.

"Everything I do now is under a microscope."

That's true. With any amount of fame, there will be a certain amount of expectation, ridicule, and scrutiny. My hope is that he continues to handle it with as much honesty, humbleness, and sincerity as he is now.

Now is the time to get into The Wonder Years, check out their new record, buy a copy of AP's issue on the band, and figure out what all the well deserved fuss is about.

Mike Shea
I have said it a thousand times before, but I would not have the confidence or drive to do what I am doing today without Mike Shea and his company. To those that haven't had the opportunity to meet the man, all I can think to say is that he is one of the most intelligent, humorous, and understanding human beings you will ever have the fortune to meet. It is intimidating to speak with a guy with so much influence and experience in this industry as Mike has. The need to sound cool is overwhelming, but Mike isn't about that. Talking to him is easier than anything in the world. He is so knowledgeable on everything that is going on in this crazy musical world we choose to live in. When someone is speaking to Mike, he'll listen. You can tell that he is actually invested in the conversation and thinking about what the speaker is saying.

Spending an hour or two with Mike Shea as your escort is enough to make any guy or gal begin to piss their pants. I had been drinking an extreme amount of water during the day, so maybe it was just me. Nevertheless, Mike escorted me back to the buses after an interesting conversation with Adam Russell (Story of the Year, D.R.U.G.S.) just so I could watch him. Seeing the band members that I watch on stage shake and stammer during their thank you talks with Mike is extremely refreshing. It goes to show that everyone in the industry is still a fan at heart. I think Mike has come to realize this after so many years, because he has a way about him that is nothing but warm and welcoming.

This section is really just a public "Thank You" to Mike who has been extremely encouraging to not only me, but hundreds of musicians that need a confidence boost just like everyone else. A huge Thank You also goes to Kevin Lyman for everything he does to make Warped Tour happen. The biggest thank you goes to the people behind the scenes or behind the boards at every date of the summer long tour that keep everything running daily in 100 degree temperatures.

Home
Arriving home from my first Warped Tour was an extreme relief. Warped Tour is a great time, but I can't handle more than one date, that's for certain. Overall, I had fun, learned some things, met some people, and most importantly, survived. I can't wait until next year. I only hope that it's cloudy.

This review was originally published on Under The Gun Review

Artist: The Cab
Song: “Bad”
Genre: Pop
Label: Independent

The Cab has been through a lot in the past year. The band experienced problems with their old label, Fueled by Ramen/Decaydance, to the breaking point. They left the label and are now releasing their album independently. Very recently, the band decided to release Alex Johnson from his role as drummer. To gear up for the August 23rd release of Symphony Soldier, the band has released an album teaser and their latest single, “Bad”.

Now let me tell you, I have listened to this song through over 60 times and I still haven’t grown tired of it. It is unbelievably catchy in an unassuming yet conflicting arrogant fashion. As the title suggests, it is reminiscent of Michael Jackson’s attitude in his historic song of the same name. Listening closely you even catch a few squeaks and squeals in honor of the late Pop King. The song is confident and cool in every sense of the word.

The Cab’s lead vocalist, Alexander DeLeon, has always been known for his smooth Backstreet Boys meets Fall Out Boy vocals. “Bad” highlights the vocals in a very obvious way. The instrumentals almost seem held back to feature the voice of the modern day crooner. I’m not complaining in any way. I’m a huge fan of DeLeon’s power and control and pride in his work.

The wait is over, The Cab is back. Releasing an album independently is a big risk, but with the amount of anticipation mounting for Symphony Soldier, I have no doubts that it will be a financial and award winning success. The Cab has the potential to be a mainstream pop radio favorite with this single.

Purchase “Bad” from iTunes: Click

Score: 10/10

This review was originally published by Under The Gun Review.

Artist: Let’s Get It
Album: Masters of the Universe
Genre: Power-pop/Dance
Label: Fearless Records

In the first track of Masters of the Universe Joe sings, “We wrote these songs for you to write your bad reviews. All we do is try.” Try they did, they worked hard to get where they are. But hard work rarely pays off and often goes unrewarded. I want to say upfront that this isn’t going to be a bad review. It’ll be positive one. With this record turning out the way it did, they deserve it.

Let’s Get It has come a long way from the Dayton, Ohio band they once were. After gathering a large following online, through Myspace and Purevolume, the band was quickly picked up by Fearless Records who placed them in the studio with the infamous Joey Sturgis (The Devil Wears Prada, Attack Attack!, Miss May I, I See Stars, etc.) to record their Digital Spaces EP. The band has recently followed up with Masters of the Universe, a 14 track blend of Pop, Rock, Hip-Hop, and Dance elements. Simply put, it’s catchy as all get out. Unless you’re some hardcore metal junky or cowboy, you’re going to love this record.

In today’s music scene there is a definite rise in acts springing from online outlets. Kids anywhere can record with Garage Band and upload in a matter of minutes. Other kids click, they listen, if they like it, they “like it”, and a viral star is born. The use of electronic instruments is also becoming extremely prevalent. Samples, synth piano’s, and computer software programs are replacing traditional instruments (in pop music at least). I’m honestly getting sort of tired of this. Look, Owl City, The Ready Set, and 3Oh!3 are great, but how many bands are popping up that sound exactly like them? I don’t want this review to take a negative turn so I’ll get to my point. With all of the imitators and sound-a-likes, It’s refreshing to find Let’s Get It emerging from the crowd.

Let’s Get It may not be Masters of the Universe, but they are masters at what they do. They have a way of implanting everything that makes a pop artist successful and twisting it into their own style. I grew up listening to a lot of different styles of music. Most of this was made up of what my parents found appealing. At a certain age, however, I began free thinking and I was able to decide what I liked. So, I decided boy bands were my thing. Backstreet Boys, N*SYNC, and 98′ were my groups of choice. I can definitely hear that style in Let’s Get It’s music. They also add that hip-hop, radio pop sound that could easily sky rocket them into mainstream popularity. These Ohio boys are smart and talented, they have every tool needed for success. Masters of the Universe is a perfect example of those tools being used the right way.

From my point of view, the standout tracks are “Eyes Open”, “Audacity of Dope”, “We Don’t Care”, and “Fade Out” but the entire record is solid. There isn’t one song that I want to skip when listening through. If you’re at a party, in the shower, or driving your sister to the mall, this record is sure to get you singing (much to the chagrin of my poor sister.) Pick up Masters of the Universe today at your local record store or on iTunes!

Score: 8.8/10

This review was originally published by Under The Gun Review.

Artist: Fucked Up
Album: David Comes to Life
Genre: Hardcore Punk/ Experimental Rock
Label: Matador Records

Toronto based hardcore punk outfit Fucked Up have steadily made a name for themselves with trashed venues and mysterious affiliates and symbolism following in their wake for 10 years. Their latest release, David Comes to Life has been an interesting listen to say the least. The whole band is so solid it’s damn near impossible to give this a poor review.

Generally, I stay away from hardcore punk music. I like a little melody to my music and a majority of the hardcore punkers don’t usually quench my thirst. I love the history and influence of punk music and the spirit that it brings, however I think many can agree that it isn’t the most musically inclined genre out there. That’s why I was surprised when I first heard Fucked Up. In addition to the grit and grim that lead vocalist Pink Eyes (Father Damian [Abraham]) slings, there is an amazing collaboration of musicianship by lead guitarist 10,000 Marbles (Mike Haliechuk), rhythm guitarist Gulag (Concentration Camp, Josh Zucker), guitarist Young Governor (Bad Kid, Lil’ Bitey, Ben Cook), bassist Mustard Gas (Sandy Miranda), and drummer Mr. Jo (Mr. Jo, Jonah Falco).

The album is based on a concept of the love, loss, and redemption of the mysterious figure affiliated with Fucked Up, David. The story is told within 18 full length tracks, giving the listener around 80 minutes of music. I feel this is a bountiful amount of ear candy. Hitting replay on this record is a recommended action.

A mixture of experimental guitar riffs, transient female backing vocals, and a concept makes David Comes to Life a flavorful blend of everything that is good in music. I recommend David Comes to Life to anybody who likes punk, alternative rock, or something new and different to listen to.

Score: 9.6/10

This review was originally published on Under The Gun Review.

Band: NOTIMEFOR
Album: Happy Youth EP
Genre: Pop Punk/ Powerpop
Label: Unsigned

It’s summer time. That means it’s time to roll the windows down and blare some pop punk. Every year I look for a few new bands to add to my summer playlists and this year I came across a surprise act from Milan, Italy named NOTIMEFOR.

NOTIMEFOR is a five member pop punk group. They released Dress Up to Get Down in 2009. Happy Youth was released May 7th, it was recorded and produced by Bertrand Poncet of Chunk! No, Captain Chunk. The EP is 6 tracks long and well worth a purchase.

Even though they hail from the European boot, you wouldn’t know that they were Italian based on a first listen. Every track is well written and catchy as all get out. If you’re a fan of gang vocals, you’re in luck. There are loads. The lead vocalist doesn’t exactly stand out, but he fits right in with other singers in the genre. The drums are fast and the lyrics are what you’d expect from a bunch of pop punkers.

In a genre so packed, it is hard for bands to make a name for themselves as one of the best. NOTIMEFOR may not be the best, but they are far from the worst. With some more exposure and another full length, they may just find some success here in the states. Happy Youth is certainly worth a listen.

Score: 7.3/10

This review was originally published on Under The Gun Review.

Bands: Into It. Over It./ Such Gold
Album: Split EP
Genre: Indie/Emo / Pop Punk/Hardcore
Label: No Sleep Records/ Mightier Than Sword Records

Continuing with my pop punk hunt, I come across Such Gold and Into It. Over It. Both names have become quite well known in recent months. Such Gold killed Bledfest a few weeks ago with the return of the recently stabbed lead vocalist, Ben Kotin. Into It. Over It.’s Evan Weiss has been gaining popularity since the release of his project, 52 Weeks, in which he wrote a song every week for a year. This split is the first of two planned split EPs from Such Gold this year. Both acts have been touring extensively in the past year and are quickly securing places in the music industry.

The split contains 2 tracks from each band. Starting off the EP is Evan Weiss and “Washington, DC”. This song shows the pop punk/emo side of Into It. Over It. It’s intense introduction leads into a melodic chorus than you’ll want to put on repeat. It’s definitely a fun way to start off the EP. The following track, however, shows a completely different side of IIOI’s musical talent. In almost a Death Cab like fashion, Weiss brings out his inner Gibbard for “Portland, OR.” Somber and intellectual, we hear what Weiss thinks of Oregon in just over two minutes. Apparently they are respectful people.

Such Gold brings the EP back up about 8 notches with “Minstrels”, a hardcore pop punk track that accurately sums up everything Such Gold is about. They are easily one of the best bands in the genre right now. With a highly anticipated full length coming in late 2011 or early 2012, they intend to introduce their music to as many people as they possibly can. “Minstrels” is primarily centered around one line that is a stab at those who are into music for the money. The line reads as such, “I thought that music was an expression of one’s soul. I guess that means that yours was sold.” A thought worthy lyric I think. The split concludes with “The World That You Live In” which is just as good as the last, or any other Such Gold song for that matter.

This split, I think, reaches its main goal, to introduce new listeners to the band’s talent. Into It. Over It. shows the range of Evan Weiss’ ability and Such Gold demands attention with their two songs. This is one 7″ you don’t want to miss out on.

Score: 8.9/10

This review was originally published on Under The Gun Review.

Artist: Parachute
Album: The Way It Was
Genre: Pop Rock
Label: Mercury/ Island Def Jam

We all have our musical tastes and personal favorites that differ from the tastes and favorites of others. We all have those bands that, no matter what, remain aa your personal favorites. In my case, Parachute is one of those bands and they have remained with me for a great many years. On Under The Gun Review, I tend to review a lot of pop punk and hardcore albums. They’re what’s popular and it’s what the kids are reading. Don’t get me wrong, I love bands like Take Cover, Fireworks, Alesana, and Breakdown of Sanity. If you want to find what I truly love, however, it’s in pop rock that you’ll find my roots. Parachute (formerly Sparky’s Flaw) has consistently provided me with amazing music that I can listen to repetitively without tiring. The Way It Was is not only my favorite record from the group so far, it is also my favorite record so far this year.

Parachute began in 2008 under the moniker Sparky’s Flaw. After three releases, the band changed their name and wrote and released Losing Sleep. Losing Sleep did not reach the success it deserved, but it still debuted at number 2 on the digital release charts. Not too shabby. Parachute has toured with O.A.R., Matt Nathanson, Kelly Clarkson, Palin White T’s, The Goo Goo Dolls, and many others. The band continued to gain recognition by appearing on television programs like Jimmy Kimmel Live, Good Morning America, The Early Show, and The Tonight Show with Jay Leno. The Way It Was was released on the 17th of May and reached #1 on the iTunes Rock Charts and #2 overall. I completely expected this well deserved reception.

To be honest, I have put this review off for several days for two reasons. First, I have not had the drive or time to write when all I want to do is listen to this record. Second, I have no idea how I can put into words the magnificence of this collection of lyrical, melodic, and instrumental perfection. I had high expectations for The Way It Was, and when I have set the bar high for a record, I usually end up disappointed. This is a well-needed exception.

White Dress starts the album off with an upbeat vibe that immediately sends the toes a’tappin’ and head a’bobbin’. If you are a new listener, take a moment to take in your surroundings as you experience Will Anderson’s voice for the first time. Will’s has a way of writing songs that both convey his feelings and thoughts, and infects the listener. The control he has on his voice is nearly incomparable.

You and Me is an uplifting song reflecting the excitement and depression that accompanies love. Anderson is dreaming of a Bonnie & Clyde type scenario. Freud may suggest that he is deeply infatuated with the female subject of his dream. Missing out on a real life relationship, Will manifests one while he sleeps. With he, the robber, and she, the driver, the couple commits the perfect crime and all ends happy. That is until he awakes and finds himself alone again. Maybe if he had done something differently she would be there dreaming alongside him.

Something To Believe In is the lead single from the record. I would not have picked this song per se, but it is definitely one of the strongest on the album. It is excellently produced and written. It not only features the inspiring vocals of Anderson, but also a full choir of soulful Baptists. A supposedly African American woman belts out several lines, perfectly complimenting the powerful tones of Parachute’s lead vocalist. Lyrically, the song is a pathway to finding faith. The song’s doubtful subject is waiting around, waiting for God to find them, but God can’t find his way into them without a little help. It’s a rough life we have to live, but for some, having faith in something more than themselves can make a world of difference. I can deeply relate to this song and I think many listeners will find something in this song.

Forever and Always is both the best song on the album and now my marriage proposal (this is more romantic than my Pokémon idea). Furthermore, I love a story, and I love when it’s put to music. I’m not going to type this one out for you. I want you to listen to this song. There is no way I can explain it better than it is already written. This story is incredibly sad, but it’s a good reminder of how short life is.

Now do something for me. Stop reading. Take a moment to tell your nearest loved one that you love them. You never know when life is going to be cut short. Resume Reading.

I have listened to this song somewhere in the neighborhood of 50 times. I don’t think I will ever tire of the story it tells or the melody it brings. This song is what makes music so special to me. It makes me think, it makes me cry, it makes me glad. It isn’t just track 4 on an album. It is something in itself that can’t be reproduced. If you are strapped for cash and can’t afford to buy The Way It Was, just buy this single. You won’t regret it. [update: Play count 60+ (I listen while I write)]

What I Know is track 5 on The Way it Was and is as about as close to a title track as you can get (there being two songs with the album’s title within them). This song deals with a girl leaving the singer for someone else. Despite his pleas, she leaves without giving him any hint as to a reason. So, he drives. He drives and tries to figure it all out. Plenty of choir echoes resound in the background and the beat pounds through to the very end.

American Secrets is an awfully appealing song. Also containing the album title its lyrics, the song has two parts. The first half is summer themed pop number. A couple is out driving around and enjoying the company each provide for each other. However, as the sunlight fades, their date does as well and the girl leaves the boy to return to her home. The calendar might say that day has ended, but it continues on in the boy’s head.

Years later, a man who was once the boy in that car has come to realize what the girl really meant to him. It appears that she has passed on. He is eager to great her in Heaven. American Secrets is a pure love song as only Parachute could provide.

Kiss Me Slowly is the second best song on the album. It’s play count in winamp only surpasses Forever and Always because it was released earlier as a single. Radio ready, this song is romantic and impossible to resist. This song made me more excited for an album than any single I have heard before. I had it on repeat for somewhere around 5 hours one day while I showered, washed dishes, and shot some hoops. I sang along the entire time. I find it amazing that I haven’t grown tired of it yet. It must be good.

Halfway differs musically from the rest of the album. It holds a certain classic rock/blues/pop vibe that sticks out from the rest of the tracks. As does the sassiness of the lyrics. Will departs from the sappy love song and takes a dive into the edgier end of love. The girl is a player. She likes playing games with a new guy every night, but this boy is about to change that. “He may not be what she wants, but he is gonna be her halfway.”

Philadelphia closes the album on a smooth note. Almost a John Mayer like song, it follows a man and a woman. They both have problems in love and I’m not going to take it any further than that. The lyrics are hard to follow, but the song is epic in a beautiful sense and a perfect closer to a perfect album.

The Way it Was not only lived up to my expectations, it surpassed them tenfold. Anderson’s writing and singing talent grows with every record Parachute makes. The band is fantastic in all aspects, as always. Instrumentals are flawless (no pun intended) and little things are added here and there to keep things different. Parachute is a quality band that has plenty of lasting power. I will proudly say that they are one of my favorite bands until my dying day and after. Please buy this record and try it out for yourself. My writing cannot fully bring the album to justice, I just hope it is enough to entice you to listen and learn to love the band for yourself. To the band, producers, and management, bravo, an album well done.

Score: 10/10

This review was originally published on Under The Gun Review.

Artist: Sleeping With Sirens
Album: Let’s Cheers to This
Genre: Post-hardcore
Label: Rise Records

Let’s Cheers to This is the second full length album from Florida/Michigan based band Sleeping With Sirens. The album was released on May 5th by Rise Records. It was produced by Kris Crummett, who has produced Dance Gavin Dance, Alesana, Emarosa, In Fear and Faith, The Devil Wears Prada, and others.

Let’s Cheers to This is this first album I’ve listened to from the band and it was a good first impression on their part. I was thoroughly impressed by Kellin Quinn’s vocal ability. If I were to compare it to anyone else I would say that he is a cross between Jonny Craig and Devin Oliver. The control, range, and power Quinn will blow the new listener away and please the fans.

When writing a review for a band I haven’t heard before, I do an extensive amount of research. Without the time to listen to the full discography of an artist, I look up the band biographies, histories, and wiki pages. I did this for Sleeping With Sirens and was surprised to find names like Brian Calzini (We Are Defiance) and Jack Fowler associated with the group. Brian was a founding member of the band and has left. However, Jack was formerly a guitarist for Broadway and has just joined the group. You learn something everyday right? If this isn’t news to you, congratulations, you’re already a fan.

I may be 250 words into this review, but don’t think I’m stalling. Let’s Cheers to This is a really great album, I’m just unsure on how to proceed or where to begin. I suppose track one would be as good of a place as any.

“Do it Now, Remember it Later” starts the album off with some whoa-ohs and a rebellious tirade of lyrical confidence. “Remember when they said that what we want could never be done? When it all comes falling down, we’ll do what we want to.” I think this band really knows what they are doing and are out to prove it.

“If You Can’t Hang” is super catchy and demands attention. Quinn’s significant other seems to have lost her significance. That doesn’t seem to stop him from seeking companionship, however. Unfortunately the same thing happened to him once again. Bummer. The song illustrates infidelity and how beauty sometimes only goes skin deep. I may have found a new break up song.

“Who Are You Now?” is a slower number that showcases some more of Quinn’s vocal abilities. But it’s all about self awareness and how others perceive him. As the title suggests, Quinn is being asked who he is and how he going to respond to the criticism. He isn’t taking it lying down either, he knows that “Sometimes you gotta fall before you fly.”

“Four Corners and Two Sides” YOU! YOU! You’ll like this one. It’s rough and bitter. I think Quinn is confident, not confrontational. I think he knows he can’t be friends with everyone and he needs to keep his guard up. In this industry, I’d say that’s exactly what he should be. Something I really like about this song is the play on a Lennon lyric “They say I’m a sinner. I’m not the only one.” Clever.

“A Trophy Fathers Trophy Son” is a sad story of abandonment. A father left his family. The son is trying to deal with the loss and wonders if his fathers departure could be his fault. When a boy loses a father, he loses his example of what a man should be. I think the title might explain a little bit of fear. Will he be like his father? Will he leave his family? He is sorting that out.

“Fire” is a tough song to read. What I seem to take away from it is that a girl is self destructing and the boy is desperately watching it all burn down. Maybe it’s an addiction she faces, I can’t be sure. Maybe I’m reading this song wrong, but perhaps it’s all up to interpretation. The song is a power ballad and a pretty powerful one, no matter the meaning.

“Tally It Up, Settle the Score”. Kids are fighting. Underage and angry, this is his way of getting his point across. Luckily he has studio quality screams to help him with that. Take that girlfriend!

“Your Nickel Ain’t Worth My Dime”. @bandguyproblems would love this one. This song is all about telling a girl want she wants to hear. When the volume is low, you can hear the mutter of a crowd during a set change. Indicating a show is in progress and Quinn is spitting lines to some backstage honey. “I want to write a song about you now.” Nah, he just wants you in the sack. This song makes me chuckle. Quinn, you dog, you…

“Postcards and Polaroids” is a leaving song. The touring life can be exciting and fun, but it is very tough on relationships. I can only imagine how hard it would be to leave my girl for months at a time. The girl doesn’t have it easy either, she is left at home, sleeping alone every night, and wondering if her man is being faithful. Tour is a true trial for musicians.

“All My Heart” is the acoustic break in the album. Quinn’s voice is flawless. Stripping down the instruments really shows how amazing he really is. No auto-tune needed. The song is youthful and romantic.

I’d ask, ‘you think we’d ever make it?’
You’d say, ‘I’m sure if it’s right.’

The song swells into a full instrumental to finish.

“Let’s Cheers to This”. Finishing with the title track, the band demonstrates that they are here to prove what they’ve got.

I’ve Got The Whole
World In Front Of Me
I’m Not Letting Go ‘Til I Say

This Is My Life
I’ve Got It All
Right In Front Of Me
I Won’t Let It Go
There’s No Way

This Is Our Time
Don’t Slip Away
Don’t Slip Away

Let’s Cheers to This really impressed me. The song writing is fantastic, the vocal melodies are amazing, and the musicianship is incredible. I have nothing bad to say about it. I highly suggest buying this record. You won’t be disappointed. Sleeping with Sirens have, no doubt, made a lot more fans than just me with this release. So what are you waiting for? Go buy it now! Don’t wait!

Score: 10/10

This review was originally published by Under The Gun Review

Artist: In Fear And Faith
Album: Symphonies EP
Genre: Rock/Orchestral
Label: Rise

Symphonies is the second EP and fourth release from the San Diego band In Fear and Faith. Typically producing hardcore music utilizing both screams and clean vocals, In Fear and Faith have quickly made a name for themselves in the music scene. Within the past year, the band has completed the 2010 Vans Warped Tour, the Band of Brothers Tour, and the This Is a Family Tour. In addition to extensive touring, the band has gone through several line-up changes. Unclean vocalist Cody Anderson left the band in a huff due to personal reasons, leaving the band one-screamer short for tour. Bryan Zimmerman (ex Sky Eats Airplane took the role for the tour. After a few more member adjustments, the band settled on a lineup and began producing the Symphonies EP.

The EP is seven tracks in length and runs about 25 minutes. Overall I would say that the EP is creative and refreshing. I grow quite tired of reviewing albums that sound precisely like the one before it. I only have so many ways to say essentially the same thing. In this case, however, I don’t think I could use any of those overused lines. Symphonies is a masterpiece. Under the creative direction of Ramin Niroomand, In Fear and Faith have produced something that should be taken very seriously by other musicians in their genre.

The EP features vocals from four lead singers in well-known bands. Nick Martin and Craig Owens from Destroy Rebuild Until God Shows, Caleb Shomo of Attack Attack! and former band mate Tyler “Telle” Smith of The Word Alive. Some may view the use of these big names as a grab for sales. False. If you know anything about In Fear and Faith or Ramin Niroomand, it’s that they love to creative music. Utilizing the talents of their friends is merely a gesture of gratitude and in my opinion, makes a great EP.

Nick Martin’s scream, whether in D.R.U.G.S., Underminded or Symphonies, has always given me the chills. It’s raw, it’s powerful, and it’s perfect. Telle of course shines through, as usual. It doesn’t matter what band he is in, his vocal abilities are recognized and continuously praised. Both clean and unclean, he can make any track sound outstanding. Attack Attack! has never been my favorite band, but I won’t deny the talents of Caleb Shomo. A worthy addition to Symphonies, Caleb adds some power to “The Solitary Life.” Lastly, there is the infamous Craig Owens. Craig has caused fan girls to scream, fan guys to attempt his scream, and of course lots of drama. Drama is not what Symphonies is about, however. It is about the music and the musicians, and Craig Owens is one of my personal favorites. He comes into the track softly and slowly gains some power to finish his part with some intensity. Just as it was in InFaF’s first release, this track is a highlight.

The album not only showcases the vocal prowess of some of the music scene’s biggest names, but it also highlights the talent and creativity of the band itself. The EP is comprised of symphonic renditions of previously recorded songs. The songs take on a completely new feeling with the added piano and strings. In several cases, I didn’t even recognize some of my favorite songs with the new tempo and innovative instrumentals.

If you aren’t familiar with the work of Ramin Niroomand, please check out the YouTube Channel of In Fear and Faith. Here, Ramin posts the piano solo’s that are featured within the EP. He is positively phenomenal and has easily earned my vote for Artist of the Year. He is a pure talent, as you will find evident in his videos.

I highly recommend the purchase of the Symphonies EP. It is inventive, well produced, and a great listen. For the piano players reading this review, I highly commend you to buy the Symphonies Piano Solo book as well. It contains solo sheet music for the entire EP and recorded solo versions of each track are available. Ramin put a lot of work into this project and I think it is a fantastic addition to the album. Preorders will be signed, digital copies will be immediately emailed, and two piano solo songs will be added as well. This is a one of a kind offer. /sales pitch

Score: 9/10

This review was originally published by Under The Gun Review.

Artist: The Downtown Fiction
Album: Let’s Be Animals
Genre: Pop Punk
Label: Photo Finish Records

The Downtown Fiction is a Pop Punk band consisting of three members. This makes them the most notable punk trio from Fairfax, Virginia to date. This band impresses me considerably. Formed in 2008, The Downtown Fiction has released three EPs and in April they released their debut full length Let’s Be Animals. On top of this, the band is currently headlining the Let’s Be Animals Tour with He is We, Cady Groves and Amely. Not bad eh?

Let’s Be Animals is ten tracks in length (14 for the Deluxe) and is 30 (45 for the deluxe) minutes of awesome. Throughout the entire record, I didn’t pick out many things I thought the group “borrowed” from other pop punk acts. This is not common in pop punk. Usually I will listen to a record and isolate various riffs, vocal patterns, and lyrics I thought were stolen. That was not the case with Let’s Be Animals.

The closest thing I found to a “borrow” was the lyric “kiss my ass” in the lead in track “Thanks for Nothing”. I’ve been listening to this record for well over a week and I still confuse the lyric with a similar lyric in “Merry Christmas, Kiss My Ass” by All Time Low. Nevertheless, the track is extremely catchy and easily hooks the listener into listening to the rest of the record.

“How many times can you look me in the eye and tell me everything is fine when I know it’s not. I don’t even know what I should say now. I can’t speak. I am such a freak.” “Freak” is one of my personal favorites on the album. You can’t help but to sing along to Cameron Leahy’s flawless vocals and tongue in cheek lyrics. The song goes from pop, to a little scream, to a desperate whisper, making a very sincere song arrangement.

“I met a girl and I feel stoned” “Stoned” is a shout it from the mountain tops love number. Upbeat and quick paced, it sends the leg tapping and brings out the air drummer out of the listener (or maybe that was just me). At times, Leahy’s vocals seem to bring the British invasion back. At first I thought my media player had shuffled me to a new Transmission Party track. Despite this, “Stoned” is an excellent song.

“I’m feeling like I keep on talking. I’m repeating myself. My words lost all meaning.” “I Just Wanna Run” is easily the best track on the record. Leahy seems to be running from something or someone and winds up in my head. I have heard it both acoustically and with the full band and either way, the song is addictive and excellent.

“She Knows” utilizes a lot of vocal harmony and is instrumentally perfect. Every layer of this song compliments the one above or below it really well. I’m finding a hard time finding anything actually WRONG with this record.

“Lets take off our clothes, run through the streets, scream at the moon, and scuff up our feet. Won’t hear a word, ‘cause they probably say we’re terrible, let’s be animals.” The title track, “Let’s Be Animals” is a blink-182-esq single about kids having fun. As the lyrics suggest, Leahy relates the wild antics of American teenagers to the actions of wild animals. Why not just have uninhibited, unrestrained, and spontaneous fun? We all go “wild” on occasion, right?

“Wake Up” is the next track (not that we need to after listening to everything thus far). The listener needs to “Make some time, to make some time” to listen to this track (I realize that was a bad joke, but I had nothing else…)

“Alibi” is an accusatory song. Vicious and full of spunk, it starts slow but blasts into a thump-thump of bass and a few lines calling out the singer’s (ex?) significant lover. Alive with “woo-hoos” and heavy breathing, this song is sure to get your heart pumping and limbs moving.

“Tell Me a Lie” is similar. The album seems to have a common theme from some bad romances (Lady Gaga Plug, check.) This song is sort of repetitive but gets in your head easily and if you’re anything like me, you’ll catch yourself singing out loud it when you wake up, in the shower, or in line at the bank (to the elderly lady in front of me, I do apologize for my inconsistent pitch).

“A Wonderful Surprise” is the perfect finish to the album. Sweet and slightly symphonic, it is my second favorite song on the normal release. The Downtown Fiction really hit the terrorist in the head with this one (I had “hit the nail” but this seemed more relevant. USA!) Fading out into a small choir of “ah-ahs”, the album ends quite nicely.

If you decide to spring the extra 3 bucks for the Deluxe Edition (which I recommend), you’ll get 4 bonus tracks including “Medicine For You”, “Losing My Mind”, “Sierra”, and “Hurt Me So Good”. All of these songs are fantastic and, in my opinion, better than a majority of the tracks on the normal version. If you don’t go for the Deluxe Edition (which I will again suggest), you are still getting a great record. The Downtown Fiction has easily stolen a spot in the pop punk world and will not be leaving any time soon.

You’ll have to excuse me now. I have to go to Akron. I’m going to see the Let’s be Animals Tour tonight.

Score: 9/10

This review was originally published on Under The Gun Review.

Artist: La Dispute / Koji
Album: Never Come Undone (Split)
Label: No Sleep Records

Never Come Undone is a 4-track split EP from artists Koji and La Dispute. It is the second split for both bands, the second EP for Koji, and the seventh for La Dispute. The EP runs just over 15 minutes and as was, quite frankly, an interesting listen.

The split alternates artists every other track. Starting the EP off is the repetitive and frantic “Sunday Morning, at a Funeral” by La Dispute. To be frank, I do not get it. The vocal melody is truly annoying and repetitive. So much so that after the first two listens, I just skip it. The entire song is about the occurrences on a normal Sunday morning. 90% of the lines in the song’s lyrics begin with “Sunday morning…” That is all. It is simply an annoying song.

La Dispute is a Grand Rapids, Michigan band with five members. Their fan base is growing, and for some, this may be the perfect band. They are striving to create a new post-hardcore style with blues, rock, and soul elements in addition to the screaming that is evident in the more popular post-hardcore genre now. For me, it just does not click.

Second on the split is “Peacemaker” by Koji. To those who have not heard Koji, listen to the more subtle The Rocket Summer songs and you will have a good idea of his sound (for this record at least). The similarities to TRS are slight, and only complimentary. Koji thoroughly impressed me with this song. It is sincere, well written, and a great reprieve from La Dispute.
Let me give you some background on the Harrisburg, Pennsylvania native, Andrew “Koji” Shiraki. Andrew is a strong advocate of social justice. He has advocated for groups such as Resolve, which raises awareness of the use of child soldiers in the Lord’s Resistance Army. He also has aided Humanity Now, a homelessness awareness group. Shiraki is the true definition of artist. His performances include not only music, but art, stories, and positive messages for youth. I will be following him closely, just as Alternative Press has been. This year, Koji was named as one of Alt Press’ 100 Bands You Need to Know in 2011.

Continuing with the review, I will give you a look at La Dispute’s second track, “Last Blues.” It sounds a lot like “Sunday Morning” and I am honestly just as interested. La Dispute’s vocal patterns are short and hesitant. Their songs are not exactly something you can sing along to like Koji or any other band for that matter. This song is depressing. It deals with a wife leaving her family and the husband dealing with the loss. Heavy material, but I am not interested.
If you are like me, by this time you will be really hoping for more from Koji. With the next track, “Biomusicology,” you will be rewarded for your suffering. This is by far the best song on the EP and unquestionably one of my new favorite singles. “Biomusicology” not only has a name that inspires the listener to think more critically about the “science” of music, but it also leaves them wanting more. By “more,” I do not mean more from the album, not more from the artist, but more from the song. “Biomusicology” is a song that I wish could just continue playing forever.

Yeah. It is that good.

This EP is all about Koji. I expect him to be gaining a lot of ground within the next year. Listen while he is still “indie”! In all seriousness, Never Come Undone is not worth the $9.99 iTunes has displayed for the pre-order. I suggest waiting for the price to drop to around 5 or six dollars before purchasing. Or, buy the Koji’s tracks individually. They are worth your money.

Score: 7/10

This review was originally published on Under The Gun Review.

Artist: Cash Cash
Album: Love or Lust
Genre: Dance/Power Pop/Electronica
Label: Universal Republic

New Jersey band Cash Cash was formed in 2002 under the name The Consequence. After a name change and signing to Universal Republic the band began steadily gaining popularity. With the debut of their self-titled EP and an LP shortly after, Cash Cash landed supporting spots on several tours. Included were the Vans Warped Tour 2009, Kevin Rudolph’s Let it Rock (Tour), and various tours with acts such as Metro Station, Sing it Loud, Cobra Starship, Family Force 5, and Breathe Carolina. The band’s latest record, Love or Lust, was released on April 19th with some success. The album reached number 2 on iTunes Dance charts and the single “Victim of Love” reached number 2 on the Dance single charts.

The album is 10 tracks in length, running just over 35 minutes long. When I listen through it, it feels like an EP. In fact, I have several extended plays in my catalog that run longer than this album. Despite the length, the album was a fairly fun listen. Going in, I had an idea of what I was going to hear. As I predicted, the album was more or less like the last (more less than more). With a band like Cash Cash, there doesn’t seem to be much room for improvement. They have their niche in the dance/power-pop genre, and that is where they will stay.

From start to finish, the album is full of bass rhythms, synthetic claps, techno beats, and dance/party/club themes. The album’s leading single, “Victim of Love,” is fun, but not unlike many other pop songs I have recently heard. It is a funky tune expressing youth rushing into love, not exactly original. “Naughty or Nice” takes a mischievous play on the popular Christmas saying. It is boring and repetitive, press skip. “Sexin’ on the Dance Floor” is one of my favorites. Perhaps it is because of the striking similarity to tour mates, Cobra Starship’s “Good Girls Go Bad,” which I was rather fond of. I’m not saying the song is a rip off. However, the song features female vocals from ADG much like Cobra’s use of Leighton Meester for “Good Girls Go Bad.” We can also forget that Cash Cash remixed that very song for the special edition record, right?

Moving on. “Jersey Girl” is much like Jersey Shore. It is dirty, annoying, but you watch (or listen) anyway. A home-state anthem, it rolls through the highlights of New Jersey, which are not that impressive (Bon Jovi and Snooki being the state’s main attractions). “Wasted Love” is decent. It is definitely one of the better tracks. It is smoother and the synth rhythms are catchy too. “One Night Stand” is a raunchy dance number about one-night stands. At this point the album is starting to get boring. The urge to listen to something else is becoming greater and greater with every monotonous chorus and Cobra Starship style injection.

For the reader’s sake, I continue. Call me crazy, but “Dirty Lovin’” sound like a Cash Cash song from a previous release. Offhand, I cannot recall which, but it sounds familiar. The song is fine, but the next one, “I Have One Regret,” is better. Add this to the list of recommendations. This one is different and surely welcomed after the last few songs. The following track, “Jaw Drop,” isn’t bad either. There is actually some noticeable guitar presence in this song and it pulls the song together quite nicely. Synthetic music can be fun, but it can get stale quick (like the tortilla chips I left out last night) so a little guitar rhythm here and there would really help this album out. The final song, “Obsessed,” is an uneventful ending to the album.

Unfortunately, Cash Cash did not leave me wanting more as they did at the end of Take it to the Floor. Love or Lust is a fun dance record and fans of Cash Cash will, with no doubt , love it to bits. For the new listener, it may not grab a hold of their attention. To sum up, Love or Lust was good, but everything release before it was better. I suggest looking up their 2010 single, “Red Cup (I Fly Solo)”, “Party in Your Bedroom (Original Demo)”, and their previous LP Take it to the Floor. That was a good record.

Score: 5/10

This review was originally published on Under The Gun Review.

Artist: Breakdown of Sanity
Album: Mirrors
Genre: Metalcore
Label: Unsigned

Mirrors is the first full length and second independent release of Swiss metalcore band Breakdown of Sanity. Sharing the stage with acts like August Burns Red and Salt The Wound, Breakdown of Sanity is fighting for your ears’ attention. Attention that, after this album, is well deserved.

I’ve been listening to Mirrors for a week straight. At first I was trying to pick out things that I thought were bad about the album. However, as my listening continued and tracks replayed continuously, I found that those things I originally thought were wrong are completely right.

If I were to review the album as a whole, you would not have much to read. By this, I mean to say that the record is too good to be thoroughly explained unless I tell you track by track. The album changes from track to track and each song has its own unique features that deserve their own explanations.

Track one is the “Prologue,” it begins with ambiance and the sound of trickling water, pulling you slowly downstream until finally throwing you over the waterfall in an abrupt breakdown. The chugs of guitar and bass take you into track two, “Story Of A Stranger,” which is an intense introduction to the utter brutality of the remaining 43 minutes. “When silence breaks” is a heart pounding, speed drumming anthem suitable for any metal head’s library. It brings attention to the drumming on the record, which is intense and absolutely relentless throughout.

“Infest” is one of my favorite tracks on the record. In its five minutes of length, this song contains the first sample of clean vocals the album has seen. These are immediately followed by an epic guitar solo. The drumming of Thomas Rindlisbacher is so fast and hard (“that’s what she said” is implied) it hurts my arms just listening. Some say metal bands can’t sample our current president, Barrack Obama. Breakdown of Sanity said, “Yes. We. Can.”

“The Storm” and “The Chosen Ones” both seem to deal with taking action on what you want and how to live your life. “Lights Out” introduces another style which BOS can use really well, dubstep. Yes, a European hardcore group using dubstep, how original right? It works, it’s subtle and it fits. “December” has more clean vocals, they aren’t very common in this band’s style, but they incorporate it when it feels right. The guitar solo in “December” is Dragonforce reminiscent. The guitar work on this album is quite impressive for an emerging group.

The album takes a short, minute and a half reprieve with “Mary”, and acoustic track. The ambiance of the synth in the background really compliments the oddly soothing, yet catchy rhythms of the acoustic guitar. This band has a huge range of style. So much range that “Mary” almost doesn’t seem to fit, but I’m glad they included it.

Much like the one assigned to me, Breakdown of Sanity’s “Deadline” comes up on you really quickly after the quiet that “Mary” had you grow accustomed to. Just as quickly as the heavy came, it leaves again to the serene melody that introduces us to the eleventh track, “Jnâna”. The melody turns to slow drumming and intent guitar riffs as the song comes to a close. Something big is coming, the build brings us pounding into… Nothing. The track fades and silence ensues momentarily before a deep breath before a plunge.

“We Are The Wall” is a hectic, angry number. Filled with unexpected drum pattern changes, maniacal laughing, claps, and gang vocals, this one is intense. The album draws to a close with “Paralyzed” which is just as heavy as the track before it. However, Breakdown of Sanity didn’t seem to want to leave on an angry note. Instead, they end Mirrors with a cinematic instrumental, soothing and reassuring.

Mirrors was a surprise. Previously unknown, Breakdown of Sanity is now a metalcore favorite in my library. I strongly recommend you pick this album up on iTunes and add it to yours!

Score: 9/10

This review was originally published by Under The Gun Review

Artist: FM Static
Album: My Brain Says Stop, But My Heart Says Go!
Genre: Pop Punk/ Christian Rock
Label: Tooth & Nail

My Brain Says Stop, But My Heart Says Go! is the fourth studio record from the Toronto natives that make up FM Static. The album was released on April 5th and reached 58th on the iTunes charts. FM Static started as the side project of Thousand Foot Krutch lead vocalist Trevor McNevan in 2003.

Following the success of their third studio album, Dear Diary, FM Static has released their fourth and highly anticipated album with relative success. I, myself, was not previously a FM Static fan. However, in my middle school days, I was a fan of McNevan’s other group, Thousand Foot Krutch. When listening to My Brain Says Stop, But My Heart Says Go!, I recognized a familiar voice, but couldn’t exactly put it to a name. My first thought was, “Boy, this sounds like TFK.” After listening through the album several times, I decided to do some research on the bands background. Confirming my hunch, I found the origin of the project to be of McNevan and TFK drummer Steve Augustine.

The album itself is fairly solid. The instrumentals are what you would expect from a pop punk group. Plenty of claps and quirky synthetic sounds (and cowbell in the title track) can be found throughout. If you’ve heard TFK or FM Static in the past, you’ll be comfortable with the vocals. If not, you may be wondering if Chad Kroeger of Nickelback switched genre’s. In fact, the back end of this album reminded me a lot of Nickelback material. For some, that is likely ok. For others, like myself, that is quite the opposite. FM Static’s song “Black Tattoo” is a Nickelback song. If you have listened to pop radio in the past 2 years, you have heard it via “Gotta Be Somebody.”

Despite a few similarities between the two Canadian rock groups, FM Static has a few gems hidden amongst the record’s general mediocrity. The title track (and first single) is a great introduction the album, it’s fun and energetic and leads seamlessly into a cheerleader’s favorite, “F.M.S.T.A.T.I.C.” Following the claps and cheers of its preceding track, “(Hey) I Want It” is another poppy number sure to get your leg shaking and feet tapping. The record takes a break from the energy and slows down with “Lost in You”, a romantically inclined song. The slow-down doesn’t last long, however. It picks back up with “U Don’t Know Me Like That”.

My favorite track is “Cinnamon & Lipstick”, it isn’t over done, it’s a laid back classic song of youth in love and relationships that just didn’t pan out as planned. If anything, I would suggest buying this track.

From that point on, the album takes a turn for the worse. “Black Tattoo”, “Breaking Me Again”, and “Inside Out” sound like Nickelback b-sides and “Last Train Home” (the second single) is ultimately boring.

I would recommend My Brain Says Stop, But My Heart Says Go! to fans of Thousand Foot Krutch, Family Force 5, and Nickelback. That being said, I did some toe tapping and singing along to a few tracks. A semi-solid effort from FM Static.

Score: 6/10

This was my very first post for Under The Gun review. I believe I wrote it before I even had a login for the CMS.

Artist: All Time Low
Song: I Feel Like Dancin’
Album: Dirty Work
Label: Interscope

All Time Low have finally made the jump from your little sister’s favorite underground pop punk band to a major label debut. The first single from their upcoming record, Dirty Work, is appropriately named, “I Feel Like Dancin’.” The song was co-written by Weezer lead vocalist Rivers Cuomo. Between the two lyricists (Alex Gaskarth and Cuomo) a single was written that is obviously meant for partying. In fact, the entire song is a narrative of a night of partying. Creative right?

In one line, Gaskarth mentions how he “knows how Ke$ha must be feelin’.” I think this is accurate. The song is nothing more than a grab for radio air time. With the state of pop radio these days, this song should fit right in between Katy Perry and Taio Cruz during your station’s No Commercial Lunch Hour. A single like this is made for one thing, summer jamming. With the release of Dirty work in early June, I suspect ATL will be filling the playlists of any girl ages 12-20 for warm weather car rides.

With a fan base as large as All Time Low’s, I have no doubt this single, as well as the album, will do well. I personally find my foot tapping along to the song as I write this, so In the end I will say that it isn’t that bad. With pop punk, you should take it for what it is: Pop punk. It’s fun and it’s catchy so buy it and sing along.

Score: 8/10