10 Real Friends Songs to Blast While Awaiting Their New Album

Like many punk fans, I’m eagerly awaiting the latest release from Real Friends. In preparation, I’ve been revisiting a lot of old favorites.

A lot of these songs were really important to me in my late teens. I’d been dealing with a lot emotionally and somehow Dan Lambton always had just the thing I needed to hear. The emotional connection has stuck with me since, and even though I don’t listen to their latest album, The Home Inside My Head, very often, I still get the same feelings of nostalgia when I do.

Real Friends’ music is almost cathartic for me, because remembering what I was dealing with and being removed from it now puts things into a lot of perspective. Songs like “Sixteen” don’t make me as deeply upset as they used to. I’ve felt the feelings and I’ve been learning to put them aside once I’ve dealt with them.

The feelings of emotional weakness that Lambton sings about really resonated with me then and they still do. I may not be in as bad of a place as I was when I was introduced to Real Friends, but sometimes stuff still bubbles up. The difference between then and now is that I recognize it and I’m able to deal with it more swiftly before it turns into a bigger problem.

I think Real Friends have really helped me figure out that process for myself. Their latest track, “From the Outside”, hasn’t really grown on me yet, but I’m getting there. I identify with a lot of the lyrics in the track, which gives me high hopes for their new album. A big trend in pop punk lately seems to be taking a lighter approach to the darker themes that are usually dealt with. Strangely enough, I’ve found myself in a place where I’m also taking a lighter approach to my struggles.

I’m excited to join Real Friends in their latest journey. I’m hoping to catch their set at Warped Tour this year and I have a feeling it will be a very emotional show for me, much in the way Neck Deep and The Wonder Years have been. There’s something strange about growing up with bands, and one of the best examples of that in my life is Real Friends.

Without further ado, here are my favorite songs by the band. I think it’s a great group of songs to dive into if you’ve never really gotten into them.

1. Skin Deep” from the Put Yourself Back Together EP

2. “Colder Quicker” from The Home Inside My Head

3. “Late Nights In My Car” from the Put Yourself Back Together EP

4. “Home” for Fall from the Everyone that Dragged You Here EP

5. “Sixteen” from Maybe this Place is the Same and We’re Just Changing

6. “From the Outside” from their new album due later this year

7. “I Don’t Love You Anymore” from Maybe this Place is the Same and We’re Just Changing

8. “I’ve Given Up On You” from the Put Yourself Back Together EP

9. “Floorboards” from the Everyone that Dragged You Here EP

10. “Summer” from Maybe this Place is the Same and We’re Just Changing

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

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Reflecting On: Lil Wayne – Tha Carter III

Tha Carter III is truly a hip hop time capsule, memorializing extreme highs and lows of the genre. The sixth studio album from Lil Wayne would prove to be his best, showcasing the lyrical acrobatics that made him one of the most revered rappers of a generation. Unfortunately, it also displays an unmistakable misogyny and homophobia that plagued the genre for decades.

One of the greatest albums of our lifetime also serves as a stark reminder of how far we’ve come in just 10 short years, and how much further we have left to go.

You can buy Tha Carter III on Apple Music.

Tha Carter III is littered with hits and distinctive moments that make it impossible to forget, but perhaps the reason the music still stands so vivid is because of Lil Wayne himself. Coming from the projects of New Orleans, Wayne began his path to stardom at a young age as a part of Cash Money Records’ rise to power in the late 90s. In the matter of a decade, Wayne had blossomed into a star full of personality and humor, reaching the peak of the cultural zeitgeist by the time of the album’s release. By the summer of 2008, Lil Wayne was larger than life.

It’s hard to imagine most artists cashing in on that moment as firmly as Wayne did with Tha Carter III. With a running time of over 76 minutes, the album is a behemoth full of moving parts and voices, but at its core, it’s a celebration. The production is slick, the stylized autotuned vocals drip with bravado, and Wayne’s legendary wordplay is on full display, even if the constant double entendres begin to wear you thin.

No song on the album captures this motif better than “A Milli”, a track about nothing in particular that astounded upon first listen and still seems impossible to comprehend. Rumored to have been recorded in one take as a freestyle, the song quickly took on a life of its own – too winding and crass for radio but a track that you had to share with everyone you knew the moment you heard it. Wayne’s punchline of, “I can turn a crack rock into a mountain” near the song’s end still causes my hands to raise involuntarily just as the ghastly Dennis Rodman line causes me to cringe.

Even with its bloated length, Tha Carter III contains enough entertainment to make the time pass quickly. From the fantastic opening of “Mr. Carter” with Jay-Z to the unforgettable beat of “Mrs. Officer”, the album’s standouts are peppered in between hidden gems. The production on “Lollipop” and “Got Money” is appropriately over the top and drenched in autotune, serving as a glimpse into the world of pop rap in the late aughts. When Wayne manages to slur out on the latter, “I’m a Great Dane, I wear eight chains / I’m in so much ice, they yell, ‘Skate, Wayne!’” it’s an outlandish reminder of the hilariously hypnotic grip he held on listeners with such ease.

In hindsight, Tha Carter III and Lil Wayne’s own brand of over-the-top revelry arrived just in the nick of time. Later that year, 808s & Heartbreak would turn the genre on a dime, ushering in a new era of emotive, existential hip hop, driven by minimalism and dark tones that lasted until Kanye himself teamed up with Jay-Z to Watch the Throne. Perhaps it makes sense that Wayne could never follow that thread, forever cursed with a million dollar smile and a penchant for a life lived at 100.

Instead, he continues as a cultural icon and a living example of a rapper existent on both sides of hip hop’s social journey. While Wayne could never fully deliver an acclaimed follow-up, maybe it wasn’t necessary. Even amidst its growing pains, Tha Carter III helped usher in a new awareness and interest in hip hop on a mass scale, evolving Lil Wayne into a multi-faceted, bonafide star in the process.

How we’ll reflect on the more difficult moments of albums like Tha Carter III, or even albums with a more recent release date, in another 10 years’ time remains to be seen. For now, we learn while we listen and continue to ask questions of the art we love.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Reflecting On: The Fratellis – Here We Stand

The feeling that Here We Stand would hit the sophomore slump may have been inevitable. Following The Fratellis’ debut album, Costello Music, was a daunting task at best. While Costello Music had made the band famous internationally, the legacy of Here We Stand would be that of the album leading to the band’s break up.

Costello Music is a beloved record. It is a collection of pub punk songs, featuring characters, wit and tales best told over a pint glass. The unstoppable swagger of “Chelsea Dagger” remains the band’s most famous song, if for no other reason than as the victory anthem of the Chicago Blackhawks. Here We Stand is the album that turned off everyone I knew from the band. They stopped following The Fratellis’ career almost immediately, opting instead to replay Costello Music for the next 10 years.

The Fratellis had established a solid sound for themselves in Costello Music, including a series of incredible B-Sides for their singles. Here We Stand bears the burden of trying something different. Instead of reveling in eccentric punk, the music slowed down, added a piano and much cleaner production. In retrospect, the change isn’t that drastic, but at the time, it sounded like a complete genre shift. The characters and stories were gone, and a dash of blues influence seeped into the songs.

Here We Stand is a good album, but not a great one. Despite its best efforts, the album feels disjointed. The songs are slower than anything on Costello Music and seem caught somewhere between writing sessions. Some extra time may have found a stronger product. Songs meant to be jams, such as “A Heady Tale”, find the guitar hidden beneath a melody of piano that awkwardly gives way to the bridge after each chorus. “Lupe Brown” mixes simple guitar parts with a doo-wop styled chorus, and “Acid Jazz Singer” finds harder guitar licks dampened by a pop chorus.

For two years, Costello Music was a staple for my friend group. Less than a week after the release of Here We Stand, I was the only one still listening. A year later, the band went on a three year hiatus that, for all purposes, left the album dead. When The Fratellis finally returned with We Need Medicine, the time given to let this new sound simmer created a much tighter album that managed to achieve the sound that Here We Stand had attempted.

Though The Fratellis continue to move away from the sound of their debut to this day, Here We Stand is the album that started that journey. It’s not perfect by any means, but without the experimentation on this album, the band would most likely be trapped trying to rewrite their debut over and over instead of making the music they want to.

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and spilled a full cup of water on the floor like an amateur. Like, IMMEDIATELY after filling it.

10 Classic Music Videos Turning 10 in 2018

Even with the days of MTV music video rotation squarely in the rearview mirror, the impact of the music video can still be felt. In 2008, YouTube had become the new gathering place for music fans to experience their favorite bands and artists in a visual way, with music videos garnering tens of millions of views in the blink of an eye.

Taking a look back at some of the videos turning 10 this year, it’s easy to remember a time when we were willing to wait out the annoying buffering to get a glimpse of our favorite bands doing their thing on screen. Take a look at some of our favorites from 2008 and be sure to share some of your favorite music videos from 2008 in the replies!

Panic at the Disco – “Nine in the Afternoon”

Remember how weird it was to hear Pretty. Odd. for the first time? Lead single “Nine in the Afternoon” captured all of that stark strangeness from every angle. Clearly stylized after Sgt. Pepper’s Lonely Hearts Club Band, “Nine in the Afternoon” combines vivid colors, marching bands, archery, and odd uses of vacuum cleaners to create a surreal experience.

Fall Out Boy – “I Don’t Care”

Before the “hiatus,” Fall Out Boy gifted the world with Folie à Deux, an album unappreciated in its time. In the video for “I Don’t Care”, the band’s members embrace their inner bad boy, only to be later revealed as various celebrities and other musicians. In typical Fall Out Boy fashion, there’s more than meets the eye – it’s a satirical look at the caricature of celebrity – and it’s fun as hell.

Kanye West – “Welcome to Heartbreak”

Long before Kanye stole the mic from Taylor Swift or donned a MAGA hat on Twitter, he made a sad album of sad songs called 808s & Heartbreak. One of those songs introduced us to Kid Cudi, whose chorus on “Welcome to Heartbreak” is still just as stellar as it was 10 years ago. The dark, dingy music video matches the vibe and showcases a softer side of a complicated artist.

Anberlin – “Feel Good Drag”

It’s still hard to believe that track 8 from Anberlin’s sophomore album would go on to be the smash single from their fourth album, New Surrender. The year’s biggest rock song is displayed on video in deep sepia tones and captures the sin buried within the song. It’s the perfect video for a breakout from a band that had long ago earned its time in the spotlight.

Hey Monday – “Homecoming”

Long before Cassadee Pope was winner of The Voice and a star country singer, she fronted the pop punk band Hey Monday. The band’s lead single “Homecoming” is captured here in a bowling alley where Pope’s jerk ex-boyfriend is pulling the same tricks with a new girl. Fortunately for her, the band’s power chords save her from heart break. Or something?

Taylor Swift – “Love Story”

In 2008, Taylor Swift was coming into her own and blossoming into aa full-blown star. The video for “Love Story” finds her traveling back in time, petting a horse, and running through a field. Wait a minute, is this video actually good? No, but it’s definitely a time capsule of what 2008 sounded like.

Beyoncé – “Single Ladies”

“Yo Taylor, I’m really happy for you, I’ll let you finish, but Beyoncé has one of the best videos of all time. One of the best videos of all time!” Need we say more?

Anthony Green – “Dear Child (I’ve Been Trying to Reach You)”

This is such a weird little video, but it fit the quirkiness of Anthony Green, who in 2008 was blossoming into aa full-blown rock star. With Saosin and Circa Survive success under his belt, Green led his solo debut Avalon with this video featuring a variety of animated creatures, along with a scorned ex with…octopus arms? Eh, whatever. It works.

Lil Wayne – “Got Money”

Was there anything more thrilling in 2008 than Lil Wayne and T-Pain robbing a bank in a music video? The answer is no, there was not. Still one of the best autotune pop rap songs of its time, “Got Money” is just about as fun as music videos get, especially Wayne and T-Pain’s adorable shirts displaying “He Sings”, “He Raps”.

Metro Station – “Shake It”

This song is kinda gross and the video is mostly boring. But can you honestly think of 2008 without remembering this track playing in the background of every memory? Damn you, Trace Cyrus and Mason Musso with your whisper verses and over-the-top hooks!

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Reflecting On: Panic at the Disco – Pretty. Odd.

Pretty. Odd. may be the biggest upset in music that I was alive to see. In 2007, to say that Panic! At the Disco were on top of the world is an understatement. Their debut album, A Fever You Can’t Sweat Out, was a massive hit. The band had more or less overtaken Fall Out Boy as the poster child for record label Fueled By Ramen, and their live shows had become the things of legend. The anticipation for their sophomore release was ravenous, especially after hearing reports that the band had scrapped an entire record themed around fairy tales. Pretty. Odd. caught absolutely everyone off guard except the band that created it.

You can buy Pretty. Odd. on Apple Music.

Pretty. Odd. was a true gamble. Leveraging the fame of Panic!, the band decided to completely and utterly change who they were. Gone were the live stage shows, emo-infused lyrical wordplay, electronic beats and cabaret inspired rock. Even the exclamation point in their name was removed. What took its place was a mock version of The Beatles. It pissed off everyone I knew, and it almost destroyed the band completely.

In retrospect, Pretty. Odd. is a glorious masterpiece. It is a solid rock record, inspired by classic British rock and folk music. It is utterly unique. Nothing like it has been created since, and the current version of Panic! has more or less swept it under the rug. However, while almost everyone (that I know of) prefer any other album from the band, Pretty. Odd. has held up considerably well and has never gotten the full respect it deserved.

The shift in the album’s sound is a stark one, so much so that the opening song, “We’re So Starving”, actually has to tell the audience, “You don’t have to worry, cuz we’re still the same band”. Looking beyond the shift in sound though, is an album that, in almost any other circumstance, would have been regarded as an uncontested indie cornerstone. The pop anthems are expertly crafted, backed by an absolutely massive orchestral piece. Harmonica, violins, mandolin, saxophone and flutes bring a life to the music that is rarely found outside of movie scores.

What they enhance, though, is a series of secretive fairy tales and stories hidden beneath the shock of classic rock. The surreal imagery within the songs is second to none, such as in “Behind the Sea” (“Like bobbing bait for bathing cod / Floating flocks of candled swans / Slowly drift across wax ponds”). Or in the tuba encrusted “From a Mountain in the Middle of the Cabins”, as Brendon Urie sings, “Lying there, with a halo in her hair she cried / There are feathers everywhere, but it’s fine / You do this all the time”.

The legacy of Pretty. Odd. is one of gambles that paid off in ways that no one foresaw. Guitarist and songwriter Ryan Ross allegedly had a large hand in controlling the band’s direction for this release. Removing everything that made Panic! famous in the first place moved the attention aimed on them to the opposite spectrum. The shock was that they weren’t shocking.

Ross threw his full weight behind this direction for the band. It was an utter rebirth of the sound of pop rock from the 60’s, both paying homage to and inspired by the bands of the era. In many ways, Panic! surpassed the bands that inspired this record. When Ross and bassist Jon Walker eventually left to form The Young Veins, they carried this sound with them. Unfortunately, their biggest sin was nothing but timing.

Following A Fever You Can’t Sweat Out with this new sound was a dire mistake. The fan base craved the dark electro-pop that the band had created and the showmanship that oozed from it. As a result, a large portion of fans rebelled. Especially after the near dissolution of Panic! At the Disco, the blowback followed The Young Veins and never gave them the chance that they deserved.

On the other side of the split left by this record, Brendon Urie suddenly had an allowance to literally do anything he wanted. With Pretty. Odd. already in the band’s catalogue, he was free to explore nearly any sound he wanted to going forward with Panic! at the Disco. Without the restraints of fan expectation, Urie wrote some of the group’s biggest hits afterwards.

The sad irony is that had Pretty. Odd. been released as the band’s third album or later, after establishing their sound, they would have had a fan base loyal enough to take the journey with them. There wouldn’t have been the worry that the band had severed ties with what made people love them in the first place. Similar to how My Chemical Romance took on a new persona with each new album, Panic! at the Disco would have had an easier time rallying fans to Pretty. Odd. if they had a firmer grasp of who the band actually was. The shock wouldn’t have kicked in nearly as hard.

Pretty. Odd. is an amazing album that will truly never receive its due credit. The diversity of sound and surreal, dreamlike paintings throughout the record are mesmerizing in ways that no other band has been able to replicate. It is a shame that instead of having an anniversary celebrating this unique entry in their history, Panic! At the Disco has more or less hidden Pretty. Odd. beneath a mountain of top 40 pop songs and dance beats.

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and first listened to Pretty. Odd. in a car full of groaning college kids. They have all since been eaten by alligators and small cats. The album survives.

Reflecting On: The Ataris – So Long, Astoria

The summer of 2003 is the last year that I consider ‘normal’ from my youth. It’s the first time I was aware of the ticking clock over the heads of my high school friends when we hung out, as they would head to the four corners for college in a couple years. It’s also the last year before the fractures in my parents’ marriage began showing true depth, which would eventually lead to their divorce.

You can buy So Long, Astoria on iTunes.

Ten years later, I packed up my car and drove north for the last time as I moved to Chicago in early 2013. I was leaving my family and everyone I had grown up with. As I hit the interstate, I turned on an album to make sense of the hope I had for my future. The first track defines that moment to me as I drove towards unknown potential – “So Long, Astoria”.

So Long, Astoria by The Ataris lived and died by the era it was written in. Early 2003 saw an epidemic of generic pop punk bands, the likes of which would prove to be the ruin of the genre from mainstream radio. However, it is because of this deluge that allowed a record like this to truly stand out as something special, even if it also got lost in the shuffle without the credit it deserved.

So Long, Astoria is an album about specific moments in life. Each song is a short story littered with tiny details from real points in vocalist/guitarist Kris Roe’s life. That, or he’s a better fiction writer than anyone has given him credit for. Personal memories, such as playing a guitar alone in a bedroom and dreaming of the future (“So Long, Astoria”), or having someone tell you that their best friend likes you (“Summer ‘79”) is what makes life so special and memorable. It’s arguable that The Ataris are responsible for the first album I had ever heard that wrote about the best of memories instead of broken relationships.

Each song focuses on a defining moment while growing up. Whether it be about reflection on life, childhood memories or just taking in the beauty of Americana, the details are astoundingly poignant. Standing on the edge of the Mississippi River in Dubuque, Iowa, it’s hard not to think of Roe singing, “The sunrise over smoke stacks in the Midwest / The beauty of this abandoned factory / Christmas lights blinking on and off, all out of time / In what used to be / Your pink house dreams of a middle class America” (“All You Can Ever Learn Is What You Already Know”).

The theme of specific moments has always stuck with me. Whether I was aware of it or not, I have always played songs from this album in the background on days or during moments I thought might be important. High school graduation (“Summer ’79″), my first flight in a decade (“Takeoffs And Landings”), and after every romantic breakup, when I didn’t know what else to do but just sit and stare into the middle distance (“A Beautiful Mistake”).

Even so, I can’t claim to be the biggest fan of The Ataris. I’ve never heard another record they have released, and I don’t listen to So Long, Astoria that often. I can’t even claim to know the lyrics of most of the songs, or why I listened to those specific ones until I re-read the lyrics while writing this article and remembered why they meant so much to me.

What is important is the message of the album. Don’t take life for granted. Enjoy the happy times and look back fondly on them and how they made you into who you are today. Nostalgia is great, but what is the point if those cherished memories don’t make you smile each time you think of them?

I don’t see my high school friends very often, and it is hard to imagine my parents together anymore after both have moved on to different and better lives. But I remember the moment I made peace with their divorce and saw how happy they were afterwards (“The Hero Dies In This One”). But I still laugh at the thought of some of the things we got into as my generation became adults. Unintentionally, So Long, Astoria is a diary to a specific moment in my life before things started to fall apart, often for the better. It is a record of youth and the acceptance that something better is always just around the corner. In the end, that is the best legacy it could have left on anyone willing to listen.

by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and took two multi-hour walks listening to this album before writing about it. He did not realize how often it came up in his life until that point, because he is a dunce. If you see him, ‘BOO’ him to his face until he cries. He will know why.

10 Songs to Chase Away the Chill of Winter

Is it just me, or does it feel like this winter has dragged on and on? It’s actually snowing as I type this. Fortunately, spring is not far away, so in an effort to put up with snow boots and chapped lips, here are some songs I listen to when I think about new flowers and higher temperatures.

1. Coldplay – “Lovers In Japan (Osaka Sun mix)”

This is one of my all-time favorite Coldplay songs. Upbeat and unique, it’s always put me in a good mood. It’s also turning 10 years old this year. I haven’t listened to it in a while, but I still have fond memories of listening to this song through split earbuds with an old friend who was a Coldplay super fan.

2. Florence and the Machine – “Mother”

This is the final track on Florence Welch’s 2015 release How Big, How Blue, How Beautiful. The album focuses a lot on nature references and this is the culmination of it all. It’s impossible to not think of spring and sunny days with lines like, “Make me a big tall tree / So I can shed my leaves and let it blow through me”.

3. Regina Spektor – “Don’t Leave Me (Ne Me Quitte Pas)”

Even though this song mentions winter and the whole idea is to forget that it’s still happening, Regina Spektor’s music always matches up with spring for me. Her melodies are infectious and her lyrics are quirky. I actually prefer the Russian version, but that’s just me. Both are worth a try for an instant pick-me-up.

4. Eisley – “A Song for the Birds”

This is from Eisley’s 2017 album I’m Only Dreaming. Sherri Dupree-Bemis is joined by her husband Max Bemis (of Say Anything) for what may just be the sweetest song Eisley has ever recorded. Max also plays guitar on the track (and others on the album) and as a Say Anything fan it’s totally noticeable…try to see if you can hear the difference.

5. Saint Motel – “You Can Be You”

I saw Saint Motel open up for Panic! At the Disco a year or two ago and they played this song. There wasn’t a person sitting down or looking at their phone during the performance. The drums are strong and they used a cool guitar effect toward the middle. It’s just everything I love in a track. It’s new and exciting, just like spring.

6. Marina and the Diamonds – “Shampain”

I’m a huge fan of whatever Marina Diamandis does. She’s talented and genuine and that’s a combination I love. “Shampain” is from her first album The Family Jewels. Many of her songs poke fun at the norms of pop culture and this song is no different. She takes otherwise cookie-cutter beats and pop music go-to’s and makes a sonic experience all her own. I can’t help but turn up the volume when it comes up in my shuffle.

7. The Myriad – “A Thousand Winters Melting”

One of my favorite little bands only released two albums. Their second album is called With Arrows, With Poise and includes the gem “A Thousand Winters Melting”. What better way to end winter than with this song? I love the piano and there’s just something about this song that brightens up my day. I wish they hadn’t stopped at two albums, but at least they left us with tracks like this.

8. Paramore – “Passionfruit” (Drake Cover)

Paramore is my favorite band, hands down. I’ve listened to their music for as long as I can remember. They covered Drake’s “Passionfruit” for BBC Radio 1, and personally, I think it’s better than the original. I’m obviously biased though. Lyrically, it’s a wicked depressing song, but the way Zac Farro and Taylor York play this song makes me forget about how sad it is.

9. Childish Gambino – “California”

This track from the middle of Grammy-nominated album Awaken, My Love! is fantastic. It’s fun and random and makes me think of long drives with the windows down. It may appear to be a summer song, but I think it works just as well on a spring playlist. I love the vibe it sends out.

10. Harry Styles – “Sweet Creature”

This wonderful song is from Harry Styles’ self-titled album released last year. I love this song because it’s subtle. His voice  is really the focus here and it’s one of the high points on the album. It was a great choice for a radio single and the topic of young love coincides with spring pretty well.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Photo by Lindsey Byrnes

Will Underoath Add to Their Legacy with “Erase Me”?

During a recent conversation with a friend, I lamented how age has impacted my passion for music. It’s not that I don’t love music anymore, it’s just that my youthful enthusiasm has faded with time. The days of pushing to the front of the stage at packed concert venues or growing giddy with excitement about an upcoming release have passed. These days, it’s a much more patient and reserved kind of love.

Or so I thought.

If you haven’t heard, my favorite band is releasing their first new album in eight years. Underoath is that band for me – the band that changed the way I looked at and thought about music. Since their 2015 reunion, I’ve avoided the slightest notion that they might make their way to the studio, mostly because it feels healthier to avoid wild, unwarranted speculation and simply enjoy the music we were given during their heyday.

You can pre-order Erase Me on iTunes.

Last week, we got our first taste of what the next chapter of Underoath will sound like with the release of “On My Teeth”. It’s been interesting to watch discussion unfold across online forums as fans absorb news of the band’s return. What I’ve found most intriguing are posts pining for the band to return to the sound of their personal favorite album, whichever that may be, and choices tend to vary.

What these kinds of discussions fail to acknowledge is the very thing that made Underoath one of the most revered and inventive bands in post-hardcore. With every release, the band managed to shapeshift in such a way as to push genre boundaries and test new waters. The result of this approach is a full catalogue of classic albums, each distinct in sound and voice.

I’ve certainly got my favorites – Define the Great Line standing at the front of the pack – but I still hold each album with esteem. In fact, I’m a firm believer that Underoath improved as a unit with each and every release, with Ø (Disambiguation) standing as the band’s greatest feat. While this seems to be a prevailing opinion among many, it seems odd that anyone would want the band to deviate from what has made them so beloved.

Can you imagine the 2018 version of Underoath releasing an album akin to They’re Only Chasing Safety? Furthermore, can you imagine enjoying it? On April 6, Erase Me will unfold as something new and something fresh. While it may not be everyone’s cup of tea upon first listen, there’s little doubt in my mind that it will be another standalone record that showcases the band’s growth and desire to forge ahead.

Personally, I’m excited to hear the band battle their demons (figuratively and literally), wrestling through the fallout with their religious affiliations. Perhaps no band in recent memory has so openly discussed their inner turmoil and the strength it takes to fight for your friendships. That honesty is something that sets Underoath apart, and it’s something that certainly must have served them well during the writing of this album.

Whatever comes, we fortunately won’t have long to wait. Until April 6, my friends will continue to politely nod and smile as I ramble on about the band’s discography and explain how they re-defined a genre. If I’m lucky, they’ll even stick around to hear me gush about Erase Me well into the summer. I feel giddy again. And I like it.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Photo credit: Nick Fancher

Kendrick Lamar Shines Once Again on “Black Panther: The Album”

Like millions of others this past weekend, I made my way to the movie theater to take in “Black Panther”, a truly beautiful film. There’s no questioning the cultural significance of Black Panther’s arrival on the big screen, and although the long wait for such a film was absurd, it’s exciting and satisfying to see director Ryan Coogler and the cast handle the story with such care and power.

You can buy Black Panther: The Album on iTunes.

The track record of everyone involved in the film is one of excellence, so in many ways, it was delightfully fitting when Kendrick Lamar was announced to be handling the soundtrack earlier this year. The single that proceeded the release, “All the Stars” featuring SZA, was an immediate jam and set the stage for what was to come.

While I can’t say I’ve ever written about a soundtrack, I felt compelled to comment on Black Panther: The Album because it is easily my favorite release of 2018 so far, it’s another brilliant chapter in Kendrick Lamar’s ongoing dominance, and it speaks to the strength and beauty of the hip hop community to surround this film with a release of such magnitude.

After a few spins, I texted resident hip hop aficionado and podcast regular Brock Benefiel to question whether Kendrick might unexpectedly be vying for another hip hop title belt. While there’s no comparing Black Panther: The Album to recent solo releases like DAMN. or To Pimp a Butterfly, there’s certainly something to be said regarding Lamar’s gravity to draw in such a stellar supporting cast and his vision for a truly important project.

From The Weeknd to Vince Staples to Future to Jay Rock to Khalid to SZA, the album is unrelenting in star power and everyone’s voice shines. While the collection is meant to accompany the movie itself, and the placement of key songs within the film is excellent, it’s a compilation that stands alone just as well. It’s a soundtrack that could have been released under the guise of an unattached one-off project and its impact would still have felt relevant.

In early 2016, while we were all still digesting the scale and impact of To Pimp a Butterfly, Kendrick dropped Untitled Unmastered, a collection of unreleased songs that was met with immediate praise. Black Panther: The Album feels similar in a way – an unexpected but fully wonderful release that keeps Kendrick well in the zeitgeist and continues to solidify his status as an all-time great.

But perhaps even more important is that the soundtrack speaks to the great strengths of the hip hop community and why its music and voice are so vital.

Ryan Coogler knew full well the importance of this soundtrack and likely had little hesitation in handing the project to Kendrick Lamar. It’s a soundtrack of powerful black voices making a statement that couples well with the film while speaking to the heart of the genre. Whatever hip hop has in store for 2018, Black Panther: The Album was a truly unforgettable start.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

Reflecting On: Secret & Whisper – Great White Whale

I was too young to listen to Great White Whale when it was first released in 2008. I remember, though, being about 14 and seeing the music video for “XOXOXO” and being utterly intrigued by Secret & Whisper.

Since that first experience with “XOXOXO”, both of Secret & Whisper’s albums have become staples of mine. I look back at the release of Great White Whale with fondness, because they’re one of the bands that helped me form my own taste in music.

You can buy Great White Whale on iTunes.

My parents listened to a lot of acoustic music – James Taylor, Marc Cohn, etc. They’re also very conservative when it comes to music and that’s mostly what I grew up with. I was about 13 when I got my first “hard rock” album. It was Innocence and Instinct by the rock band Red. That, along with bands like Relient K, started me on a path of music discovery.

Because of Secret & Whisper, I became an avid follower of label Tooth and Nail Records, coming in toward the end of what I consider to be the label’s “golden age.” Bands like Underoath, Emery and Anberlin are still favorites to this day, as well as smaller bands like Secret & Whisper and Number One Gun.

My parents weren’t a huge fan of me listening to rock and alternative music, so I guess I used Secret & Whisper as a sort of compromise. Great White Whale leaned on heavy guitars and post-hardcore breakdowns while forgoing harsh, screaming vocals that would have certainly been deemed controversial. Charles Finn’s singing voice is about the opposite of harsh, actually. As far as I’m concerned, he’s still unmatched as one of the best vocalists to come from the scene.

Even aside from what it means to me, personally, I believe Great White Whale is underrated, showcasing early signs of a talented and unique band. That originality, of course, means it wasn’t everyone’s favorite album, but it sounded so interesting and new to me that I fell in love with it. I have yet to find a band that’s given me that same feeling. (I’m sure that’s partly due to the teenage angst though.)

A decade later, I believe Great White Whale still holds up as one of the most unappreciated ventures in recent rock history. Interesting lyricism with a real storytelling aspect, complicated musical composition, and soaring vocals are an example of what made a band like Secret & Whisper so great.

The rock genre allows artists to experiment in virtually any way they want. The only downfall to Secret & Whisper is that this was their first of only two albums. The band would take an indefinite hiatus in 2011 after the release of Teenage Fantasy – a break that continues to this day. Maybe they’ve kept a tiny sparkle of their potential alive and will release more music for us to enjoy one day. In the meantime, Great White Whale remains a great catch.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.