KennyHoopla – Discovering Magic By Accident

One of the things I miss the most in the world is being new to music, walking into a Best Buy and buying an album because the album caught my eye, as though preordained by a cosmic power. Since I did this nearly 20 years ago (Jesus Christ, I’m old) to discover Copeland, Panic! At The Disco, Paramore, The Early November and The Used, among others, it’s a practice that has been more or less extinct for more than a decade.

Today, KennyHoopla appeared to me as if sent by fate. In a YouTube channel curated with mostly stand up comedy, anime and video game highlights, KennyHoopla caught my attention in a way I hadn’t felt in a very long time—with an image.

The thumbnail for the live version of his single, “how will i rest in peace if i’m buried by a highway?//” shows the artist passionately clutching the microphone, shouting into it. The emotion of the thumbnail stood out on its own like a painting on the wall. I was utterly drawn to him. You can see it below.

As is, “how will i rest in peace if i’m buried by a highway?//” is an electrifying new wave infused rock song. The live video features KennyHoopla raging to the sound of a drumset and a single guitar, commanding attention with the energy of Bruno Mars and the flare of AFI’s Davey Havok. His voice crackled with an intensity that hovers between grunge and soul, finding a perfect mixture of graveled purity. Within 30 seconds of the song ending, I needed to hear more.

As a single, “how will i rest in peace if i’m buried by a highway?//” is phenomenal. As an EP, How Will I Rest In Peace If I’m Buried By A Highway is magnificent. The album mixes elements of new wave, punk, pop, R&B and emo from a lost age. The result is something that feels organic and inspired within almost any genre. KennyHoopla is the result of smashing the YeahYeahYeahs and Bloc Party together.

The EP sizzles with honesty, such as in the slow synth embedded “dust//”, a song The Postal Service would envy (“And this anxiety, It creeps into my home / This is really all my fault / Is this really all my fault?”). Although the EP revels in feelings of inadequacy and doubt, there is a sensationalism to it as well (“Well I’ve seen the stars and they look like us”).

A picture demanded I listen to a song today. A picture delivered me an artist I am absolutely enraptured with. Somehow sounding simultaneously vibrantly fresh and from a lost age of music, it seems incredible that an artist like this would only just now appear with this much potential. With so many ways to discover new music over the last couple of decades, it’s sobering and enlightening to know that an image can still convey everything you want and hope for in an artist.

The fact that KennyHoopla isn’t already a mainstream name is a crime. The wait until he is, though, will be well worth it.

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 dreams of the deep drawl of Kelsey Grammer telling him nice things about the world.

Reflecting On: Anberlin – Dark is the Way, Light is a Place

There’s something existentially beautiful about those rare, unpredictable moments when an album or a song arrives in your life at exactly the right time. Music is a universal language, and it makes sense that it would impact us in these ways throughout our lives. It’s weird and random, but profoundly deep. It also tends to weaken our objectivity.

I say this because I believe Dark is the Way, Light is a Place is the best of Anberlin’s seven studio albums. You should probably take my opinion on this matter with a grain of salt, because it arrived in my life at the perfect time for me to end up feeling this way. And while I know this about myself, it doesn’t change how strongly I feel about this opinion.

You can buy or stream Dark is the Way, Light is a Place on Apple Music.

It should also be said that Anberlin never released a weak album, something that elevates their stature as modern day rock legends. It’s easy to hear arguments for albums like Cities, Never Take Friendship Personal, and Vital and feel swayed. There isn’t really a wrong answer, but I’m often surprised at how little I hear the argument made for Dark is the Way.

I think the reason is found in the band’s own admission about the creation of the album itself. Leading up to the release, they described it as their “punk” album – not in genre, but in concept. Dark is the Way is Anberlin’s Kid A. It’s their Yeezus. There are elements found here that were further explored on Vital and Lowborn, but by and large, there is no direct sonic comparison to be made with any of their other work.

Coming on the heels of the band’s mainstream breakout with New Surrender, they entered the studio with Brendon O’Brien, a Grammy-winning producer who has worked with the likes of Bruce Springsteen, Bob Dylan, and Pearl Jam. It’s the kind of opportunity that strikes when you’re on a major label and just had one of the biggest rock records in recent memory (“Feel Good Drag”). 

Anberlin didn’t necessarily take it as an opportunity to make an even bigger single or strike gold again. They took it as a chance to explore parts of themselves that they couldn’t under any other circumstance. It was the right move. Dark is the Way is not littered with “hits,” but it features some of the band’s best songwriting and still feels like a daring attempt to make something that would change the way people talked about the band.

From the loud, fuzzy intro of “We Owe This to Ourselves” to the dark, brooding “Closer” to percussion-powered “Pray Tell”, the album features endless moments of exploration and experimentation. But it does so while sounding like the band had been writing this way all along. Stephen Christian’s vocals soar in new ways on the chorus of “You Belong Here” and sounds angrier than ever on “To the Wolves”. Each track feels distinct without ever jumping off the rails.

The summer of 2010 was unquestionably the worst of my life. By the time September rolled around, it felt like months of emotional turmoil had finally begun to subside, ever so slightly. I was ready to pick up the pieces of my life and move forward. Dark is the Way, Light is the Place happened to be the exact thematic therapy I needed.

I still can’t listen to “The Art of War” or “Down” without shedding tears. I can’t experience this album without feeling everything I was feeling at that moment of my life. I felt alone, and Dark is the Way felt like a companion because it seemed to understand and articulate everything I was feeling. There are only a handful of albums that do that in one lifetime, and this one may be near the top for me.

Shortly after the album’s release, I made the bold move of reaching out to Stephen Christian via social media, sharing my story with him, expecting no response. I’ll never forget my feeling of shock when he replied. Or the comfort in the kind words he offered. I’ll never forget how the experience of everything this album made me feel gave me the courage to start writing again. And how that led to opportunity which led to the creation of this very website.

So I’m biased. And I’m fine with that. I do believe that Dark is the Way, Light is a Place, and everything it encompasses, stands as Anberlin’s finest hour. But even if it’s not, it will always mean more to me than I’m able to put into words. And I love that feeling.

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 pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

Halsey Returns to Badlands on 5th Anniversary

It probably goes without saying that I listen to a lot of music. Like, a lot. And it’s been that way for as long as I can remember. But for all of the different albums, singles, mixtapes, playlists, and b-sides that accompany my days, I can typically pinpoint specific “eras” or stretches of my life that are dominated by a specific artist. And while the songs of that artist’s music highlight the memories in my mind, it’s more than that. It’s the overall influence they have over any given stretch that showcases a shift in my listening habits and my enjoyment of art.

For the past five years, Halsey has been that artist in my life.

You can buy or stream Badlands (Live From Webster Hall) on Apple Music.

I was aware of the groundswell taking place back in 2014 when Halsey began to stake her claim as an indie internet darling, but I largely missed out on her Room 93 debut EP. Truly, it was Badlands that won me over – an album that turned five years old this weekend. And when I think of Halsey’s growth and evolution as an artist in that short span of time, it seems like it should have been much longer.

I praised Manic upon its release earlier this year and can spoil for you now that it will almost certainly be making an appearance on our end-of-the-year list. I even love hopeless fountain kingdom, the sophomore album that many critics (and even a portion of her fanbase) found to be uneven and disappointing. Honestly, there isn’t much she’s been a part of that I haven’t enjoyed these past five years. But even now, there’s something about Badlands that still feels fresh and exciting.

There are moments throughout the album, no matter how many times I listen, that still give me goosebumps. This past Friday, Halsey released Badlands (Live From Webster Hall), which was recorded last year during a two-night event in New York City. The beauty of the recording is that it catches those goosebump-inducing moments perfectly through its mixing the sound of the crowd. 

It reminds me how I felt during my first listen of the spacey vacuum of sound in “Castle” right before the beat drops during the first chorus. It reminds me of seeing Halsey in concert a few years ago and how I didn’t imagine a live performance could give me that kind of energy again. It reminds me of that opening three-song stretch of “Castle” to “New Americana” that’s so dark and ambitious – a stretch in which you feel in every moment that Halsey truly has something important to say. And at times, she says it with a sledgehammer.

I get that the album felt cheeky or hollow to some. But there was something about that moment that seemed to announce a new generation of both pop star and music fan, which very rarely coalesces at the same time. It’s a spirit and a movement carried on by the likes of Billie Eilish in recent years. And if you’re not a part of those moments or look on callously from the sidelines, you’re likely to feel that way.

None of that changes what Badlands meant and still means to me. It’s a perfectly imperfect album that reminds me of how I can feel when I let my guard down and feel the music I listen to.

There’s no better example of what that looks like than during the aforementioned concert I attended during Halsey’s Hopeless Fountain Kingdom Tour when it stopped at the White River Lawn in Indianapolis. My favorite track from Badlands is “Roman Holiday” – a rarely spoken of non-single from the album. The song wasn’t part of the setlist at previous dates and I’d resigned myself to not hearing it that night.

Toward the end of the show during Halsey’s encore, she made a switch and announced she was doing something different. Those unmistakable opening notes of “Roman Holiday” blinked through the speakers, and as my wife can attest, I lost my mind. I lost myself in a way I haven’t at a concert since back when I wasn’t so self-conscious about losing myself in that way. And it’s hard to imagine having another one of those moments any time soon.

I can’t really explain it well with words, and I get that it sounds mushy and forced. But if you know, you know. And oddly enough, that’s kind of what makes the community of Halsey fans so great and makes her music resonate. Badlands was magic, and I’ll take any opportunity to celebrate.

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 pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

Reflecting On: Katy Perry – Teenage Dream

Unlike most bubblegum pop acts, Katy Perry has managed to stay newsworthy throughout her entire career thus far. Whether we’re talking about her joyous pregnancy and pending marriage to Orlando Bloom, or cringing at her Twitter defense of Ellen, Katy has kept our eyes focused on her since 2007. Today, we’re jumping in the Wayback Machine to talk about Teenage Dream, which turns 10 this week.

You can buy or stream Teenage Dream on Apple Music.

In 2010, I was trying my hardest to be an emo kid, so the pop stations were an absolute no-go for me. And yet, I couldn’t escape “California Gurls”. Try as I might, it was stuck in my head and its upbeat tones serenaded my every step. Ugh. I put in my headphones and played some Fall Out Boy, trying to keep my ears pure and free from the forbidden world of “mainstream music.” Obviously, since I’m writing this now, it didn’t work. With five singles from Teenage Dream topping the Billboard Hot 100, Katy Perry and her cotton candy-laced universe was here to stay.

If you took a listen to our podcast about the most important albums of the last decade, you’ll see that I find Teenage Dream the most influential album of 2010. With an aura of positivity and escapism, it ushered us into a new age of pop music where anything was possible — even a gauche anthem to the dick pic (“Peacock”). But the songs that didn’t make it to radio are really what I want to talk about today.

The first track that we don’t recognize immediately is “Circle the Drain”. It’s arguably one of Perry’s most serious songs. Supposedly this one is about Travie McCoy of Gym Class Heroes fame, but really, it’s an anthem for anyone who has watched someone they love take the dark path of substance abuse. She sings, “Can’t be your savior / I don’t have the power”, and eventually has to walk away. She tries to be scathing, but the song still comes across as desperate and hopeless. It’s one of the best tracks on the album.

The album really does highlight Katy’s battle between moving back to her ultra-spiritual background and Katy Hudson days, and reveling in her new-found fame. We go back and forth in the second half with her about whether she’s made the right decision in her career and personal life, (“Who Am I Living For?” and “Not Like the Movies”) and a look back at how her upbringing affected her self esteem (“Pearl”). 

The journey we go on with Katy is not only like the candy coated road she skips along in the “California Gurls” video, it’s full of questioning and wandering. I feel that’s one of Katy’s biggest strengths, even in later albums. She has found the balance between satisfying the hungry music exec’s needs for radio-worthy pop, and saying what she truly wants to. Teenage Dream wasn’t just an album for 2010’s summer. We shouldn’t take her advice of “Don’t ever look back,” because the singles provided us with one of the most carefree seasons in music we’ve known, but the more serious tracks on the back half of album tell us how much truth Katy had to offer the world.

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.

Surviving Summer 2020 with Stand Atlantic

As we’ve noted repeatedly these past few months, Summer 2020 has shaped up to be…not good. Not good at all. No summer concerts. No summer road trips. Just a cycle of sickness that could be broken if we could all show just an ounce of responsibility (please wear a mask, for the love of god).

But as we’ve also noted, one beacon of light these past few months has been the onslaught of incredibly good music that has lifted our spirits and kept us company. Summer has always been a season I associate with some of my favorite music memories. It’s hard not to get an itch for Warped Tour around this time each year, or reflect on those summer drives with friends when we blared our favorite pop punk bands from the speakers.

And even though the vast majority of this summer will be spent indoors and separated from friends and family, I’ve found more than a hint of seasonal solace in the form of Stand Atlantic.

The Australian pop punk act has been on my radar for a few years, but I haven’t given them the attention they deserve. The band, fronted by vocalist Bonnie Fraser, released their debut full-length album, Skinny Dipping, in 2018 on Hopeless Records. Next month, they’ll release a follow-up in the form of Pink Elephant.

If the first five songs the band have released are any indication, Pink Elephant is unlikely to leave my rotation for the duration of 2020. The recently-released “Jurassic Park” features the kind of sugary-sweet chorus that hasn’t invaded my ears since the summer of 2007 when All Time Low dropped “Dear Maria, Count Me In”. If Warped Tour was taking place in 2020, at least half of us would be sweat and sunscreen-stained t-shirts featuring the words “Dancing with ghosts in your garden”.

The crazy thing is, “Jurassic Park” may not even be the best song from Pink Elephant so far. That title goes to “Hate Me (Sometimes)” which successfully hits every winning note in the pop punk playbook while still sounding fresh as hell. But then again, it’s hard to argue against “Wavelength”, with its synth-driven verses and rattling bass line from Miki Rich. And what about “Drink to Drown” – a track that sounds like the best Mayday Parade ballad put to tape?

I guess what I’m saying is that I cannot wait to play this album all summer long, even if this summer blows. And I’ll never get tired of the feeling of finding a new band that captures my attention in a way that engulfs me. Those kinds of moments are the reason I started this site, and I’m hopeful that we can all experience a few in this interim period before we congregate once again to sing along to our favorite new songs in unison.

You can pre-order Pink Elephant here.

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 pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

Run the Jewels Arrive Right on Time with “RTJ4”

It was November 11, 2016. Just days after one of the most disastrous and damaging presidential elections in American history, iconic hip hop crew A Tribe Called Quest released their final album, We Got It from Here… Thank You 4 Your Service. It was an album 18 years in the making, set into motion in the years prior thanks to the mended relationship of key members Q-Tip and Phife Dawg, and largely recorded before Phife’s passing in March of that year.

That album was a moment. Less a celebratory victory lap for one of the genre’s most revered acts and more a statement of resistance in the aftermath of the election. Even now, tracks like “The Space Program” and “We the People…” feel as though they were penned on that dreadful Tuesday night. How was it possible for Tribe to have such foresight?

You can buy or stream RTJ4 on Apple Music.

Because foresight wasn’t required. Donald Trump’s election was just another sad, terrible moment in a country whose history is filled with the marginalization, oppression, and blatant hatred of people of color. The members of Tribe didn’t need a new reason to speak that truth.

I couldn’t help but think of that album this week upon the release of RTJ4, the fourth studio release from hip hop duo Run the Jewels. The album arrives with the country in disarray and protests taking place in every major city over the unjust deaths of George Floyd, Ahmaud Arbery, Breona Taylor, and quite literally countless black lives at the hands of a system that devalues them. RTJ4 sounds hand-crafted for this moment in time.

It was last Saturday that Killer Mike spoke during a press conference with Atlanta mayor Keisha Lance Bottoms in an unscripted and powerful moment that captured the attention of the country. It’s the kind of speech you would expect a leader to give – the sort of thing that is in short supply these days. By Wednesday, in the words of Run the Jewels themselves, “Fuck it. Why Wait?” RTJ4 was here.

I didn’t make it through the first track before I had to pause and compose myself. “Yankee and the brave (ep. 4)” begins with the sort of fictional, fantastical banter that sometimes backdrops Run the Jewels’ music, adding moments of levity between the weight. The track itself is punishing, highlighted by its rapid-fire drum beat and rattling bass line. Mid-way into the track, Mike drops the kind of verse that makes time stand still:

“I got one round left, a hunnid cops outside
I could shoot at them or put one between my eyes
Chose the latter, it don’t matter, it ain’t suicide”
And if the news say it was that’s a goddamn lie
I can’t let the pigs kill me, I got too much pride
And I meant it when I said it, never take me alive”

Before you can digest those lines, El-P enters the scene with humor, jerking us back into this getaway episode, spitting, “I got the Grand Nat runnin’ in the alley outside / Now, Michael, run like you hungry and get your ass in the ride”. It’s a textbook Run the Jewels moment, but this week, it hits harder than ever before.

The same applies to “walking in the snow” featuring another heartbeat-skipping moment as Mike alludes to the last words of Eric Garner, who was killed in 2014 by New York City police. His verse now lands hauntingly in the wake of George Floyd:

“And every day on evening news they feed you fear for free
And you so numb you watch the cops choke out a man like me
And ’til my voice goes from a shriek to whisper, ‘I can’t breathe’”

Jesus. And he’s not done:

“And you sit there in the house on couch and watch it on TV
The most you give’s a Twitter rant and call it a tragedy
But truly the travesty, you’ve been robbed of your empathy”

I could go on, diving in on tracks like “JU$T” featuring Pharrell and Rage Against the Machine’s Zach de la Rocha, which features the repeated cry of, “Look at all these slave masters”, but you get the point. While this past week has served as a wake-up call (hopefully) for so many white and privileged people across the country, the stories of George Floyd and Breona Taylor are nothing new for the black community. Albums like Thank You 4 Your Service and RTJ4 feel so in the moment when they arrive because they exist in a moment that never ends.

At a certain point in time as the genre evolved and expanded, hip hop as protest music became a sort of subgenre. But truthfully, protest has always been in rap’s DNA. It has to be. Because black voices are marginalized and maligned today just as they were in the 70s when the genre began to form, and just as they were for hundreds of years prior to that. And while we’d all be wise to listen, maybe it’s time to act, too. Fuck it. Why wait?

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 pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

Reflecting On: MxPx – The Ever Passing Moment

The first MxPx release to catch my ear wasn’t a studio album. In the summer of 1999, the band released At the Show, a 21-track live album coming on the heels of an unprecedented run of solid gold pop punk – literally. Life in General firmly legitimized the band in 1996 before 1998’s Slowly Going the Way of the Buffalo was certified gold, followed by Let it Happen, one of the greatest collections of B-sides the genre has seen. The skate punk kids from Bremerton had arrived.

You can buy or stream The Ever Passing Moment on Apple Music.

At the Show introduced me to the band and served as a primer on their greatest hits. Even now, when the studio version “Chick Magnet” comes on, I sing along with the vocals of Mike Herrera’s much looser and more playful live rendition. It’s probably no surprise then that 2000’s The Ever Passing Moment is my favorite MxPx album. It was the first one to release after I’d fallen head-over-heels in love with the band.

It is now 20 years old, which almost seems impossible.

You can have a lot of fun debates about which MxPx album is the best because there really aren’t any bad ones. And while I’ve always conceded that Life in General stands at the front of the pack, it’s never held the same place in my heart. The Ever Passing Moment finds the band at the top of their game with nothing to prove. Free from their divorce from Tooth & Nail Records, MxPx seemed to spread their wings on A&M – three years later, they would release their most commercial album to date with Before Everything & After.

Almost every one of the album’s 15 tracks clocks in at under 3 minutes, and each flexes the band’s most impressive muscle – fast-paced, left coast punk rawk. The Ever Passing Moment breezes by effortlessly, which is probably why I’ve played it so relentlessly over the years that I know every beat and turn like the back of my hand. Not to mention the litany of memorable moments that reside in MxPx lore, from the stomping chorus of “Responsibility” to Dave Grohl’s scream of “One, two, three, go!” at the start of “The Next Big Thing”.

Because the album is so solid from front to back, it takes the pressure off the singles to carry two decades’ worth of weight. I’ve always found unsung tracks like “Two Whole Years”, “Foolish”, “Answer in the Question”, and “Unsaid” to be just as fun, energetic, and memorable as anything in the band’s catalogue. And truly, that’s how you end up talking about an album 20 years later – it has to be an album worth talking about.

As the pop punk genre took off into the mainstream at the start of the new century, MxPx began their transition to a band of legacy. To date, the band has released five more full-length albums since The Ever Passing Moment, each worthy of celebration, even if they didn’t hold quite the same level of influence. No matter. A large majority of the onslaught of pop punk’s new wave could trace their lineage back to MxPx. 

If Life in General was the album that made a new generation of punks want to pick up a guitar, The Ever Passing Moment was the album that served as the definitive playbook for pop punk excellence.

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 pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

Celebrating 15 Years of “From Under the Cork Tree”

During the spring semester of my junior year of college, I spent countless afternoons manning the booth for our student radio station. For what felt like a month straight, “Sugar, We’re Goin’ Down” was the most requested song. I vividly remember taking another request by phone, only to look up and see the television in the studio playing the video on MTV. Fall Out Boy were everywhere. And frankly, I was already sick of them.

You can buy or stream From Under the Cork Tree on Apple Music.

It took me a while to come around on From Under the Cork Tree, the album that launched Fall Out Boy, and the scene at large, into the stratosphere. Call it juvenile elitism. These were our bands, and now suddenly everyone was into it?

That bad attitude kept me from experiencing the joys of FUCT for a number of years. Now, 15 years after its release, it’s an album I know like the back of my hand.

On the album’s 10th anniversary, Senior Editor Kyle Schultz wrote about how From Under the Cork Tree is rightfully credited with taking a new generation of emo to the masses, but he also notes how that ascent was the end of the scene as we had known it. Many of our favorite bands were no longer confined to the Warped Tour circuit. Following Fall Out Boy’s rise in 2005, new bands could emerge from the woodwork and land headlining tours and MTV airplay without so much as traveling across country multiple times in 15-passenger vans. The scene was in style and driving popular tastes.

It’s still weird to think back on that time. Pre-2005 it was still faux pas to shop exclusively at Hot Topic or cover your backpack in stitched-on patches of bands no one had ever heard of. Don’t hear me as complaining here – it’s simply an acknowledgement of how quickly things changed and how upside down it all felt for those of us who were on the bandwagon back when there was plenty of room.

It didn’t take long for me (and assuredly many others) to adjust to this new experience. We became the ones at shows telling stories of “back when.” Before long, it felt almost normal for every Fueled By Ramen band to go platinum. It got comfortable. Until it wasn’t.

We now reflect fondly on those times of scene stardom, LiveJournal updates, Rolling Stone covers and the like. Because it all came crashing back to earth just as quickly as it began. But here’s the thing: the tax never came due for Fall Out Boy.

There’s a version of this story where we talk about “Sugar, We’re Goin’ Down” as the highlight in the short career of a band that could’ve left us wanting more. Instead, Fall Out Boy used From Under the Cork Tree to infiltrate the pop culture zeitgeist and evolve into something new and fresh. Infinity on High made clear that Fall Out Boy had graduated from the scene. The events that followed turned them into something that comes as close as you can get to rock legends in this day and age.

As much as I’ve grown to love From Under the Cork Tree and all of it’s introspective, self-deprecating charm over the years, I wouldn’t place it on the band’s Mount Rushmore. That may make me an outlier, but Fall Out Boy only got better – much better – in the aftermath of that breakthrough moment.

I’m thankful for that. And so, I would assume, are so many of the bands we cover on this site who owe a debt of gratitude to the blueprint that Fall Out Boy created. But as much as those bands may have tried to recreate that magic over the years, no one has been able to pull it off with the flair for the dramatic that Fall Out Boy demonstrated on From Under the Cork Tree.

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 pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

10 Classic Music Videos Turning 10 in 2020

Every year, I use my love of music videos as an excuse to spend way too much time watching music videos from a decade prior and then making a dumb list of some of my favorites. This is that list! It’s crazy to think that breakthrough years for artists like Lady Gaga and Katy Perry are now a decade behind us. Or that 10 years ago, My Chemical Romance was still going strong with one of the most anticipated rock albums of the year.

Then again, time makes almost no sense these days. Seeing as many of us have plenty of times on our hands, I hope you’ll enjoy this list of some of my favorite music videos from 2010. If you feel so inclined, share some of your favorites in the replies!

Circa Survive – “Imaginary Enemy”

The lead single from Circa Survive’s 2010 masterpiece Blue Sky Noise was “Get Out”, but the most underrated track from the album is “Imaginary Enemy”. The video finds the band members running through dark forests and fields on the wrong side of a witch hunt. That imagery is kind of perfect for where the band found themselves around this time, at least until the end of the video when they’re beamed up into a spaceship. Then again, do we have proof this never happened?

Lady Gaga – “Alejandro”

By 2010, new Lady Gaga videos were appointment viewing, much like Madonna’s artistic dominance on MTV in the 80s. You can pick your poison in terms of the best video from The Fame Monster – I went with “Alejandro” for its sheer weirdness and beauty. Inspired by her admiration and love for her gay friends, the video is full of religious imagery and sexual energy. Was there anything more Gaga in 2010 than an AR-15 assault rifle bra?

Bring Me the Horizon – “It Never Ends”

Oh no! Oli Sykes is in the back of an ambulance barreling down the road, driven by a guy whose eyes are covered! And he’s also kinda floating around down the road like a ghost! And there are vampires? This video is weird, but this song is so good. 2010 saw Bring Me the Horizon make a huge artistic leap forward, spearheaded by “It Never Ends” and its manic video which is constantly trying to capture the energy of one of the year’s most aggressive metalcore tracks.

Pierce the Veil – “Caraphernelia”

The video for Pierce the Veil’s “Caraphernelia” serves as an early entry in the “we’re so consumed by our phones!” narrative. Nevertheless, nothing was quite as scene in 2010 as Vic Fuentes and company playing in front of the giant letters “PTV” set aflame. Cool crossover moment: A Day to Remember’s Jeremy McKinnon contributes his vocals in this video via a pay phone, the same manner in which Vic appears in A Day to Remember’s video for “All I Want”.

Kanye West featuring Jay-Z and Nicki Minaj – “Monster”

Remember back when Kanye was enjoyable and we really liked his music? Ah, those were the days. The video for “Monster” was never officially released, because it’s horror movie images were deemed a bit too far beyond the pale. But the video exists online and it’s…good, albeit very creepy. It’s also fun as hell to watch Nicki Minaj own her portion of the video, capping off the best rap verse of 2010.

A Day to Remember – “All I Want”

What Separates Me from You felt like A Day to Remember’s big moment when it dropped, highlighted by lead single “All I Want” – a signature ADTR track complete with a great breakdown and a killer chorus. The video serves as a scene who’s who, with nearly every band imaginable making an appearance. Ten years later, though, it’s pretty dang weird that it’s all dudes. You couldn’t find a single lady to include, guys? Come on.

Kesha – “Take it Off”

Kesha’s run of singles in 2010 rivals that of a few others on this list who had massive years (Lady Gaga and Katy Perry). While there may have been better Kesha singles, I’ve always been partial to “Take it Off” – a song with two different music videos. In this one, clearly the wildest of the two, Kesha and friends find themselves hitting up a rave in a motel pool, but oh wait, it’s actually on another planet, and oh wait, are they all dissolving into dust? Yes. yes, they are.

Travie McCoy featuring Bruno Mars – “Billionaire”

Y’all. In 2010, Travie McCoy of Gym Class Heroes broke out as a solo artist with one of the biggest hits of the year…featuring Bruno Mars. That was a thing that happened. The video finds the two rolling down the highway in a convertible and hitting up a beach and skate park before landing at a party with some cool kids. Travie may have never become a billionaire (I assume), but he definitely left his mark on 2010.

My Chemical Romance – “Na Na Na”

Was it really 10 years ago that My Chemical Romance began what we thought was their final chapter with Danger Days? This first video really set the tone for the band’s new aesthetic, set in a dystopian future with neon laser guns and bright hair colors. The band’s new look went right along with their new sound, telling the story of the Killjoys, a group of rogue do-gooders who take out some bad guys while saving a kid. For what it’s worth, red-hair Gerard Way looked really cool.

Katy Perry – “Teenage Dream”

Katy Perry dominated the airwaves in 2010 like few other have. Five singles from Teenage Dream hit number one on the charts, making her the first female artist to achieve that feat, and the first artist since Michael Jackson. In the video for the album’s title track, a summer joyride with her beau turns into passion. And then, as is customary, the couple follow it up with a dance party in a weird alley with a group of strangers. When in Rome.

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 pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

Reflecting On: Secret & Whisper – Teenage Fantasy

Secret & Whisper has long been one of my favorite underrated bands. You’ll probably remember in 2018 that I wrote a reflection on their first album, Great White Whale. My obsession with Secret & Whisper actually began when I was listening to the (original) Tooth and Nail podcast. 

You can buy or stream Teenage Fantasy on Apple Music.

Before there was the “Labeled” podcast, and really, before podcasts became a major media force, Tooth and Nail had a podcast that showcased new music they were releasing. They also had a series of video-casts called “Tooth and Nail TV,” which played new music videos from their artists. Unfortunately, I wasn’t able to find the Secret & Whisper episode online, but like MySpace and Limewire, some things of music’s past are meant to be remembered fondly. 

The episode of the podcast talked about the album “Teenage Fantasy.” They went through the whole album after the release and interviewed a couple of the members. It’s also the only time I had heard Tooth and Nail push the band’s music. I often wonder what would have happened if the label had given the band the attention their music deserved.

The band eventually went on hiatus the year after “Teenage Fantasy” was released, citing difficulties balancing band and family, and, with no disrespect to what was obviously seems to be a right and noble choice by the band, there are times when I wonder if another reason they didn’t keep it up was just the label’s indifference to advertising. 

Teenage Fantasy (and of course, Great White Whale) is one of Tooth and Nail’s crown jewels, in my opinion. It is easily one of the label’s most imaginative and thought-provoking projects. I feel like Tooth and Nail used Secret & Whisper as their token soaring-lead-vocal-hardcore outfit to compete with the Saosin‘s of the day.

What made Secret & Whisper different was the obvious musical and vocal genius of the band, highlighted by subject matter ranging from Native American life (“Warrior”) to Judaism in the age of Nazis (“Bedroom Galaxy”) to aliens (“Star Blankets”). While other bands were still focusing on relationships and general pop punk fare, Secret & Whisper really made an effort to keep their art out of the box in what could have been a groundbreaking album for the label and the genre as a whole.

It’s hard to say whether Great White Whale or Teenage Fantasy is the better offering from the band. I feel like they found their groove with the latter album. Great White Whale has an obvious deficit in production value to Teenage Fantasy, and the writing, while perfect for the theme of that album, is overshadowed by the deeply personal lyricism of Teenage Fantasy. And it all comes back around to the idea of untapped potential. Who’s to say what would’ve come of a third project from the band?

What’s kept me listening to the album is that whenever I play it, I’m transported back to that time in 2010 when I first heard it. It’s consistently fresh for me, even 10 years later.

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.