Reflecting On: Copeland – You Are My Sunshine

I’m a firm believer in the connection between our personal journeys and how that plays into the music that we hold dear. When I became obsessed with Copeland’s You Are My Sunshine, I was in the midst of what remains to be the worst, and one of best, times in my life.

I’ve only briefly touched on this several times, but I suppose it’s time to lay out the whole story about my grandmother, Linda. Anyone who met her immediately loved her. She was the kindest, most thoughtful human I’ve ever met, and still no one compares to the way she always knew just what was needed to turn a bad day around. From cookies to a movie night, she was always the perfect diversion from what reality threw at me.

You can buy or stream You Are My Sunshine on Apple Music.

I was only 17 when she passed away from cancer, and even though everything feels like a big deal at 17, facing things without her these past few years have only made the bad seem worse. She always knew how to look on the bright side, which is something I’m really bad at doing. One of her favorite songs was “You Are My Sunshine”. She used to sing it to her kids (my mom and her brother) when they were young, and then to my siblings and I when we were younger.

Now that you’ve met Linda and, I’m sure, already wish you had known her, let’s talk about Copeland’s album of the same name as that 1939 Jimmie Davis hit. The album, for me, jumps back and forth, uncannily telling the story of my 2015: the year my grandmother died and the year I met the man I married three years later. It was the year I watched my family fall apart, but it was the year I saw them stand back up, stronger than ever.

The album begins with “Should You Return” and the lines that pertain here are, “But now there’s nothing left to do but waste my time / I never knew where to move on / I never knew what to rely upon”. Cancer takes such an emotional toll but it also takes a toll on time. The nights my mom would be at the hospital, it was up to me and the rest of my family members to keep the house running, to keep some semblance of order. Once my grandmother passed, my mom was back again, so I had more time on my hands. The extra time, though, wasn’t a blessing. It was used as a grief outlet.

“The Grey Man”, under normal circumstances, is just another song about a breakup. But for me, the song turned into both a ray of hope – “You’re gonna run right back to her arms” – and part of the realization that she was actually not going to come back.

The third track on this album, “Chin Up”, may be my favorite song Copeland has ever written (a close second is “In Her Arms You Will Never Starve” from Ixora). My mom leaned heavily on us during the time the cancer took to run its course. I feel like I bore a lot of the weight because I’m the oldest child, but maybe I’m just being narrowminded. Anyway, “You’d break your neck / To keep your chin up” felt so real then. My mom and I are ridiculously similar, and we deal with our feelings the same way – we don’t. We’re not fans of pity parties being thrown in our honor. I felt like I had to be strong enough so my mom felt comfortable leaning on me if she needed to. That feeling kind of stuck around though, even to this day, even when it’s not necessary.

“Good Morning Fire Eater” is kind of an aftermath song for me. ”The day is done and everyone’s gone now / You can taste every fire and hold every song”. I graduated high school shortly after my grandmother passed. So this song is kind of a sigh of relief, now that she wasn’t suffering anymore. And I held onto the idea that everyone has after high school: the world was my oyster.

We all know the stages of grief: denial, anger, bargaining, depression, and acceptance. If I’m continuing this track of being honest, I’m still having trouble with the acceptance part. But I had no trouble with the depression. “To Be Happy Now” is the best expression of that depression I’ve found up until Paramore released “Rose-Colored Boy”.

So let’s bring the mood up a little toward positivity. I was talking to a guy and he had really helped me through some of the tougher stuff I was having to deal with. My grandmother passed in June. By that point, Jeremiah was asking when I’d be his girlfriend and I told him we’d talk about it when I turned 18. I turned 18 in August and by September 2nd, we were together. The next two tracks on the album, “The Day I Lost My Voice (The Suitcase Song)” and “On the Safest Ledge”, respectively, provide two outlooks on this new relationship I was fostering: one of severe skepticism as I was no stranger to how quickly things can be taken, and the second, which was jumping headfirst.

“Not Allowed” is a jump back into grief and a different perspective of how I dealt with it. I felt that I needed so badly to be strong for the rest of my family that I pushed all of my feelings aside and just kind of forgot how to be upset about the loss we had all just experienced. It wasn’t some righteous quest to be the best griever. I just chose numbness as my coping mechanism. Disclaimer: Don’t do that. “Strange and Unprepared” follows that same theme: “And you never feel good or bad / Just strange and unprepared”.

In 2015, I had a whole array of feelings to choose from, and most of them were new. I’d been sad before, but not in this way, not in the way of “maybe I’ll never smile for real again.” I’d liked people before, but not in the way I had fallen head over heels for Jeremiah. So “What Do I Know” was kind of a pep talk. I was really in uncharted emotional territory, and I was trying my hardest to stay grounded.

The album closes with “Not So Tough Found Out”. That’s the song that brings me to today, to right now. I’m not as tough as I’ve always seen myself, and I’m learning to be okay with that. How can one year bring about so much change? I ask myself that a lot. I guess one way to describe it is when you get the star power-up in Mario Kart. Everything speeds up around you and suddenly you’re one lap away from the finish line instead of two. You’re not concerned with what happens in the meantime, but, watching the playback, you see that you knocked Yoshi off the track and he ended up in eighth place.

Looking back on 2015 still hurts and still thrills, kind of like Copeland’s You Are My Sunshine. It gets so low, but then Aaron Marsh sings lines like “Could you be happy / To fall like a stone / If you’d land right here safe in my arms”, and I’m reminded of the guy who was able to bring me out of my grief, and the fact that when I get home tonight, he’ll be asleep on the couch because he tried to wait up for me to make sure I got home safely.

Maybe I’ve learned more about looking on the bright side because I don’t have my grandmother there to do it for me anymore. All I have is her example and the need to make her proud. I know I’m not going to do it perfectly, but I’m trying, and I think that’s what counts.

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: Saves The Day – Saves The Day

In 2013, I was brand new to Chicago. It was a scary move, but I thought I had made it for the right reasons. My first job here was a painfully boring temp job that left me feeling remote and empty, even compared to my new friends who worked menial jobs. Feeling rejected from an avalanche of unanswered job applications, I would drive alone as the summer sun baked the feeling of regret into my head under the glare of expressway signs, and I wondered how it would ever get better.

You can buy or stream Saves the Day on Apple Music.

When Saves The Day’s self-titled album released that fall, I was ready. I had backed its PledgeMusic campaign earlier that year, listening to the first single, “Ain’t No Kind of Love”, an energetic song about a breakup, with a pure hunger. The chorus was exactly what I was going through, as Chris Conley sang, “For right now, to now make it through the long day, is okay / Tomorrow, when anything can happen, try again”.

I truly anticipated an album from one of my first musical loves that would let me bask in my oncoming depression without guilt. Instead, Saves The Day unexpectedly lifted my spirits.

For almost 20 years, Chris Conley was a flag bearer of the emo movement. He never shied away from diving headfirst into the fragility of the human spirit. The three albums before Saves the Day were a trilogy that tackled depression and the depths it can actually go. His songwriting is morbid, but captivatingly catchy.

With the release of Saves The Day, an album bearing the name of the band itself, it felt like a shock to the system to discover that it was a positive album. Despite being released at the start of fall, it was a pure summer album, complete with cover art of a bright orange grapefruit. Similar to how In Reverie stunned fans with a change in style, Saves The Day was a full thematic shift. Instead of glorifying loneliness, Saves The Day is an extremely loose ‘concept’ album about two people falling in love through a chance encounter outside of a bar and reflecting on the good and bad of their lives after years of happy marriage.

Saves The Day was the first album by the band that wasn’t burdened with expectation. There just wasn’t a need to compete with the emo wave of the early 2000’s or attempt to recover ground after the backlash of a stylistic change. Instead, it used the harsh guitars of the Daybreak trilogy of albums to forge a new identity.

After 15 years, to hear a real love song from Conley felt extraordinarily out of place. This was someone who wrote songs like “The End” from Sound The Alarm (“I’m a danger to myself / Always blaming someone else”). But here he was, singing “Beyond All of Time”. It’s the first slower song on the record, with an enchanting chorus of, “Together forever tonight / I’ll always be right by your side, tonight / I love you beyond all of time”.

The true peak of the album is the dual lineup of “Verona” and “Ring Pop”. “Verona” tackles the struggles of a relationship. The verses hint at the fights and sacrifices a couple have to go through against harsh guitars and a depressing drum beat, only to launch into a gloriously hopeful chorus of, “After the end when he tells her he loves her / She promises not to let go / They hold on to hope”.

Immediately following this is “Ring Pop”, arguably the happiest pop punk song of all time. The song radiates with a sappy and childlike wonder of love, and caps off the theme of the record in an incredibly uplifting arc unlike anything else Saves The Day has ever written. “Born on opposite coasts for the two of us both / Knowing in 20 years we would not be alone / Might have made us a pair of zen-like two-year-olds / With a couple of ring pops, no need to propose”.

Saves The Day drastically helped curve my depression for some time as I struggled to adjust to living in Chicago. If Chris Conley, a poster child of dark songs, could find happiness, so could I. That is also when I finally noticed the last line of the chorus from “Ain’t No Kind of Love” that I had somehow missed on each listen since the song was released. Suddenly, the album made sense, as did my outlook on where I was going. “For right now, to now make it through the long day, is okay / Tomorrow, when anything can happen, try again / Until then keep on breathing / The love you long to know is within”.

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 killed a spider with a broom while writing this. He is brave and a hero.

What Makes for a Great Autumn Album?

My favorite season has officially arrived. On a crisp Sunday morning, I’ve found myself cooking pumpkin pancakes in the kitchen, sipping my coffee as cool air comes in through the open window. Yes, I’m “that” guy. But perhaps my favorite part of the morning is listening to the sounds of one of my favorite fall albums: Copeland’s In Motion spins on the turntable as I cook.

But what does In Motion have to do with autumn? This is the question I’ve been seeking to answer ever since someone put me on the spot a few weeks ago, asking me what I mean when I talk about my favorite fall albums. I realized that I didn’t have a good, succinct answer. Maybe there wasn’t one.

Listen to our podcast: The Best Music of Autumn

I’m convinced that this idea is extremely subjective and differs from person to person, but nevertheless, in order to at least answer for myself, I’ve been able to define four variables that impact my tendency to listen to an album when the leaves turn and the temperature drops. Take a look below and feel free to share your thoughts in the replies!

When it Was Released

This one is obvious. I’m drawn to dates and anniversaries, so if an album came out a certain time of year, I’m inclined to revisit it during that timeframe. A great example is Mayday Parade’s self-titled release, which dropped in October of 2011. The album really doesn’t meet any of the other criteria outlined below, but every fall, it’s one of the first albums I reach for.

When I listen to Mayday Parade, it takes me back to the early dating days with my wife and how often I played the album on the hour-long car ride to her home in Bloomington, Indiana, during our first fall together.

Other times, release dates align perfectly with the sound of an album. My Chemical Romance’s The Black Parade arrived a week before Halloween in 2006 and is almost custom-made for the season with its themes of death and imagery of hellish characters. It’s now my go-to album to spin during our annual pumpkin carving.

How it Sounds

We now move to a much more arbitrary point, but I would argue that some songs and albums just “sound” like the season. Here, I think of cool, sometimes dark, music that reminds me of shorter days and how I feel when I see my breath in the air early in the morning.

A few albums that come to mind here are Armor For Sleep’s Dream to Make Believe and Chiodos’ Bone Palace Ballet. Armor For Sleep is a summer band for many, and their second album, What to Do When You Are Dead, is a warm-weather staple of mine, but Dream to Make Believe has a raw, harsh quality that sets it apart. A track like “Frost and Front Steps” is nearly impossible not to associate with the season.

Likewise, Bone Palace Ballet, with its crunching guitars and theatrics reminds me of the looming darkness of the season, checking the boxes of both sound and lyrics, with its eerie and spooky themes.

What it Has to Say

Speaking of lyrics, perhaps the most obvious delineator of an autumn album is what it has to say. Here, I think of albums or songs that call attention to the most visual and visceral aspects of the season. While many equate Cartel’s Chroma to summer, it’s a distinctly transition-to-fall album for me, especially with a track like “Luckie St.” serving as an autumn anthem.

With Halloween being my favorite holiday, many albums qualify simply for their creepy subject matter. Think My Chemical Romance’s Three Cheers for Sweet Revenge or The Devil Wears Prada’s Zombie EP, along with several tracks from Showbread’s first two albums (“Dead By Dawn” from their debut is a Halloween staple of mine).

Not to be outdone, He is Legend has their own history of horror-filled tales. Suck out the Poison is a go-to for me this time of year, due both to its release date nostalgia (released October, 2006), and because of its subject matter, with songs like “Attack of the Dungeon Witch” leading the way.

How it Looks

Anyone who knows me knows of my insistence that the visual presentation of an album matters. My vinyl collection started years ago as a way to still admire the artwork of my favorite albums, even as our transition to streaming made full art and liner notes less accessible and robust. Thus, albums that incorporate autumn colors and visuals can’t be forgotten when determining their seasonal placement.

All of this brings us back to Copeland, whose album In Motion features yellow/brown leaves on its cover and captures the colors of fall throughout the album artwork. Likewise, Anberlin’s debut Blueprints for the Black Market, with its reddish brown tones, harkens of late autumn, capped off with cool-sounding guitars and references to cold.

So there you have it. It’s not a science, but there are certainly real factors that determine my own interest in an album by season, particularly when autumn rolls around. Here’s to another season of late nights by the campfire, horror movie sofa sessions, and pumpkin pancake cooking with the sounds of fall.

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: Anberlin – New Surrender

“When I was 13 / I had my first love / There was nobody that compares to my baby / And nobody came between us / No one could ever come above”.

What does Ludacris’ verse on Justin Bieber’s critically acclaimed single “Baby” have to do with Anberlin? If you’re like me: Everything.

You can buy or stream New Surrender on Apple Music.

When I was 13, I thought I knew everything there was to know about music. I thought Tooth and Nail was the best record label. I was trying to come into my own personality. In reality, I was just pretentious and nobody wanted to listen to the cool music I found because of my attitude. The biggest band for me during that time period was Anberlin. They opened the door to the rest of the alt rock world and still continue to blow me away today.

When I found them, I was listening to my favorite internet station, RadioU. The band’s cover of New Order’s “True Faith” was playing and I was obsessed with the guitar riff. I know, weird to get into a band via a song that’s not even theirs. If you actually listen to the track, though, (you’ll have to do so on YouTube, as it’s no longer on Spotify), it sounds authentically Anberlin. It took me a while to find out who it was (it being the radio and all), but once I did, there was no turning back. I became a fan of Anberlin—a Fanberlin, if you will.

All of this brings me to their 2008 release, New Surrender. The album is criminally underrated. It came a mere year after what many claim is their greatest achievement, Cities. It can be tempting to write off the album that comes after a band’s best, and oftentimes, you’d be correct to do that. But with New Surrender, I think you’d be wrong to.

I’ll admit that the album isn’t Anberlin’s strongest. It came in a tumultuous period in the band’s history. They’d just signed to a major label and released the best album of their career. It’s hard to put your best foot forward as that kind of pressure mounts. So the band gave it a shot. New Surrender isn’t hard-hitting like Cities was, and it’s not quite as melodically pleasing like Never Take Friendship Personal. The album, though, has some of the most meaningful lyrics Anberlin has to offer. From the emotional and mildly petty “Breaking” to the thematically heavy “Soft Skeletons”, the band really gave something for everyone.

Here is an overview of some of my favorite tracks:

“Breaking”, simply because it’s a classic. There’s no Anberlin without “Breaking”. If you disagree, you can come fight me. You know I’m right.

“Burn Out Brighter (Northern Lights)” because of the story. The song was written because of an episode of plane turbulence and basically reckoning with the fact that it could all be over in a second, making the most of what we have and the time we have to enjoy it.

“Younglife” has a special meaning for me lately in a way it hasn’t previously. I used to think fondly of high school and hanging out with my friends and messing around, like in the first verse. But as I think about my upcoming marriage, I think about the second verse: “Hey lover / Do you remember when / We used to dance in our apartment ‘till neighbors would knock on our door / And I remember / Do you remember when / We had no money to speak of / Nowhere else to eat but your floor / I wanna do it again”.

“Haight St.” has that same kind of connotation for me. It’s a fun track and one of the band’s more upbeat offerings, so there’s that for a stylistic approach. The whole album just holds this intense nostalgia as I’m looking back at my younger days. Old enough to know, too young to care.

So I don’t know if this has been so much of a reflection as it has been a, “Hey this album is still very relevant!” That’s what makes New Surrender timeless. It brought me through high school and the weird turbulence that is adolescence and now it’s here to remind me of the little things like building my first dining room table. It’s a picture of how to hone in on the finer points of life.

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.

Reflecting On: Saves The Day – In Reverie

In the early 2000’s, Saves The Day were the poster child of the emo scene. Stay What You Are had set the scene on fire early into the new millennium. With expectations high, In Reverie defied them in every possible way. And fans hated it. Singer Chris Conley’s new, high pitch vocals caught everyone off guard. The dreamy lyrics were a far stretch from the desperate lyricism of the band’s past records. Fifteen years later, In Reverie is held in much higher regard within Saves The Day’s body of work, and, unfortunately, largely forgotten.

You can stream In Reverie on Spotify.

Both Through Being Cool and Stay What You Are seemed like required listening for anyone developing a sense of music. Aggressive pop punk and restrained rock, respectively, they showed alternating sides of the same band and a maturity in songwriting that few bands successfully manage. Especially after Stay What You Are, arguably one of the most popular albums of the time, the wait for Saves The Day’s next record was excruciating.

In Reverie felt different right away. It was the first album cover to feature a painting instead of a high school inspired photograph. The CD itself was a bright, tangerine orange. Before even pressing ‘Play’, it warned you to be prepared for something new.

“Anywhere With You”, one of the few singles from the album that remains a live staple, broke out with harsh, fuzzed guitars as the back drop for Chris Conley’s new vocal style. In retrospect, it’s not that big of a jump. However, at the time of release, it almost sounded like a brand new singer had taken over. Not nearly as nasally, Conley was crisper and more relaxed as his pitch edged upwards.

In Reverie also marked the beginning of the modern Saves The Day ‘sound.’ It established the tight melodic pop song formula that would become the staple format of the band moving forward. While it would take the next album, Sound The Alarm, to firmly mark the occasion with aggressive guitars, In Reverie experimented with more relaxed songwriting.

Songs like “Monkey” played with loud and soft melodies, refusing to lean too far one way or the other. “Wednesday The Third” rediscovered the dark guitars, but let Conley’s vocals explore the musical scale and harmonize off of himself.

While other albums would return to the pained existential lyricism of the band’s first few albums, In Reverie played around a bit more. While there are certainly songs pertaining to the pains of relationships, (“Anywhere With You”) or emotional turmoil, (“In My Waking Life”), there were many more songs with fanciful lyrics that don’t seem to hold much meaning other than being fun to sing.

“Morning In The Moonlight”, one of the few absolute jams on the album, delves deep into this aspect. There’s little to take away from the song other than the lyrics are just a blast to sing out loud. “Madness ensues, swimming in ocean blues / The dream-dripping sky covers my insides / The moonlight in the morning sun sends shivers over my skin / The memories are slowly slipping and I’m sailing against the wind”.

It took a few years for In Reverie to actually be discussed positively. My friend group largely ignored the album until after the release of Sound The Alarm. Conley himself stated it was his favorite record in various interviews, but acknowledged that critical reaction to it had caused a course correction. Sound The Alarm and Under the Boards were largely written as a response to In Reverie. The guitars immediately became more aggressive and the lyrics grew darker. It was a stylistic approach that appealed to the imagery of past songs, like “As Your Ghost Takes Flight”.

Looking back on it, In Reverie isn’t as drastically different from Saves The Day’s discography as it sounded upon release. It seems to fit into their body of work musically better than Stay What You Are in many ways, even if it still stands out lyrically. Many of the same people who initially hated the record now regard it as their favorite album. However, it still remains the black sheep of Saves The Day’s history. Songs from it rarely seem to be played live, and it seems rarely discussed. It’s a shame, because the album is such a cornerstone of the last 15 years of the band’s history.

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 just dropped two eggs on the floor, accidentally creating the worst breakfast this side of the Mississip’.

Reflecting On: Underoath – Lost in the Sound of Separation

Underoath’s sixth studio album, Lost in the Sound of Separation, released on Tuesday, September 2, 2008. I purchased a copy of the album on my birthday, three days prior, thanks to a very cool FYE employee who retrieved a deluxe version of the record from the store’s back room, quietly informing me not to tell anyone as he handed me the CD. I proceeded to listen to the album non-stop for well over a week, soaking in every detail I could.

You can buy or stream Lost in the Sound of Separation on Apple Music.

I share this story because it was one of the last times I would be so excited about an album – so eager and impatient that I would boldly ask a retail employee to let me buy the album before it went on sale. So enthralled with a band that I would schedule my days to ensure time was carved out for quiet, uninterrupted listening sessions.

By the release of Lost in the Sound of Separation, Underoath was still on top of the heavy music world, with 2006’s Define the Great Line landing at No. 2 on the Billboard 200 and launching the band to a new level of stardom. Not only did that album set the stage for the next decade of post-hardcore, it showcased a band that was unafraid to take risks.

Sharing the same production team (Adam Dutkiewicz and Matt Goldman) as Define, Lost in the Sound of Separation feels like a brilliant second chapter – one in which the story’s authors had fully honed the very craft that made their art so acclaimed in the first place. It is at once violently chaotic and oddly serene.

If They’re Only Chasing Safety holds the title of Underoath’s most accessible work and Define the Great Line as their most critically acclaimed, Lost in the Sound of Separation may very well be the best work ever released by one of the genre’s most revered bands. Call it their In Utero – a thematically and sonically dense, under-appreciated album that now flies mostly under the radar for lack commercial appeal.

Also, much like that Nirvana classic, Separation was created to be raw and real. The band utilized space and setting when recording the album in hopes of making something that could be translated to a live setting without tricks. Passages that required vocal layering employed all members of the band. Long hallways and nooks and crannies were used to add natural effect and echo. Guitar tracks were laid down without cutting out natural flaws in performance.

At a time when heavy music had begun fully embracing the kind of clean, pure production that made albums like They’re Only Chasing Safety such a smash, Underoath bucked in the opposite direction. Despite its aforementioned similarities to Define the Great Line, deep listens reveal the idiosyncrasies that set it apart.

Spencer Chamberlain’s opening cries of, “I’m the desperate and you’re the savior” remain one of the most distinct moments in the band’s catalogue. The brutal opening to the record is intensified by the lack of vocals from Aaron Gillespie, who doesn’t join the fray until a few minutes into the second track. Nevertheless, his presence is felt throughout thanks to the most stick-splintering drumming of his career.

The electronic influence of Chris Dudley is at its most sinister on Separation – listen back to the haunting keyboards that bring “A Fault Line, A Fault of Mine” to a close and ask yourself if the concept was ever used as effectively on another hardcore record. Guitarists Tim McTague and James Smith combine with bassist Grant Brandell for dark, sludgy passages on “Emergency Broadcast: The End is Near” that mark a startling departure from anything the band had put to tape at the time.

Later, on the criminally underrated “Coming Down is Calming Down”, McTague shreds so hard that you can hear every squeal and squawk of his guitar. By the album’s end, the chaos subsides on “Too Bright to See, Too Loud to Hear” and “Desolate Earth: The End is Here”, giving way to a darkly delicate close featuring a cello and a muffled Chamberlain crying out for God to “save us all.” It’s a chilling end, to be sure, and interpretations of the outcome are certain to vary.

Impressively, for all of its bite and brutality, Lost in the Sound of Separation debuted at No. 8 on the Billboard 200, leading to more headlining tours and top billings at festivals. Nevertheless, the album’s cycle would become linked with a transition for the band, as Aaron Gillespie stepped away before the band would record Ø (Disambiguation) and disband. Like each of Underoath’s releases, Separation is a time capsule inescapably linked with storylines and intrigue.

When the band reunited for 2016’s Rebirth Tour, I found it interesting that the band chose to play Safety and Define in their entirety. While certainly their most commercially successful and “popular” releases, the absent Separation seems to hold a deep connection for many longtime fans. Even now, the band seems hesitant to explore the record, including only “Breathing in a New Mentality” on setlists. It’s hard not to wonder why the album that was created with live performances in mind is so rarely chosen for that setting.

While I await the day that tracks from Lost in the Sound of Separation find their way back into Underoath setlists, I have carried on a decade-long tradition of celebrating the album on my birthday with focused, intentional listens that remind of how I felt in 2008 when the album was everything I had been waiting for. It’s still just as satisfying as it was back then, and to me, that is truly the sign of a great album.

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.

Raise Your Voice: Warped Tour 2018 Review and Photo Gallery

Walking through the crowded grounds of Ruoff Home Mortgage Music Center in Noblesville, Indiana, on a hot July day, it’s nearly impossible not to reflect on Warped Tours past. It was here, nine years ago, where I baked in the sun watching bands like Saosin, Underoath, and Chiodos while screaming along to every word. A year prior in Cincinnati, I stood on the main stage watching Norma Jean bring down the house before singing along to The Academy Is, Anberlin, and Cobra Starship.

Over the years, the Vans Warped Tour is where I met some amazing friends, discovered some of my favorite bands, and truly felt part of a community for one of the first times in my life. As the longest-running touring music festival in North America comes to a close, I’ve felt it necessary to remember those experiences while acknowledging that the experiences have others have not always been so pleasant. For a myriad of reasons, it is time for Warped Tour to end.

There were things to feel good about and music to be excited about during this final trek, yet the staggering lack of gender and racial diversity across the lineup served as a reminder of why it must come to a close. With any luck, whatever takes its place will provide a more balanced and honest view of the underground music scene in years to come.

For now, we take a look at a few of the bands on the 2018 Vans Warped Tour that made some noise and made the tour’s final run worth the price of admission. Take a look below and feel free to share some of your favorites from the lineup in the replies!

Mayday Parade

For a band that made a name for itself by following Warped Tour around the country in 2006, selling CDs to those standing in line, it’s appropriate that Mayday Parade take part in the festival’s final journey. The band has come a long way since those early days, having just released their sixth studio album, Sunnyland, earlier this summer. Per usual, Derek Sanders bounded across the main stage singing fan favorites like “Jamie All Over” and “Jersey”, making for the perfect summer sing-a-long session.

Check out our podcast interview with Derek Sanders of Mayday Parade!

Mayday Parade

As It Is

The band’s second stint on Warped Tour has brought a new sound and a new look. Making light of the obvious changes in between songs, vocalist Patty Walters introduces the band as “My Chemical Romance.” Even if As It Is haven’t quite hit the heights of the aforementioned emo legends, the early signs from upcoming album The Great Depression seem to be promising. From “The Stigma (Boys Don’t Cry)” to “The Wounded World”, these new tracks sound even better live than on tape.

As It Is

Doll Skin

While watching Phoenix, Arizona, rockers Doll Skin tear through their set, I was reminded of watching letlive. just a few years prior. The band harness the same amount of energy and passion in their performance, with vocalist Sydney Dolezal even climbing into the crowd mid-song to unleash her powerful scream. For as exciting as the band’s set was, it was disappointing to find it on a side stage. This is the kind of band deserving of the biggest platform available.

Doll Skin

Real Friends

Real Friends feels like our best current example of what it’s like to watch a band grow up on Warped Tour. Having just released their third full-length album, Composure, the band’s main stage set was one of the highlights of the day. Dan Lambton’s energy, even this late into the grueling tour, provided a spark for the crowd as he lit into “Get By” to kick off the band’s set. Having put together the best album of their career, it will be exciting to see where they go next.

Real Friends

Issues

Tyler Carter has the kind of voice that you have to hear to believe. Even when taking on an early set on a hot day late in the tour, Carter still manages to croon his way through eight songs at full tilt. The band, now a four piece, is in the process of putting together their third album, this time minus Michael Bohn. Nevertheless, Carter handled both sides of the vocals beautifully throughout the band’s set, with help from Adrian Rebollo.

Issues

Waterparks

It feels like the stock for Houston pop punk powerhouse Waterparks just keeps rising. With the release of Entertainment earlier this year, the band has cemented their stay as one of the genre’s hottest acts and have ascended to Warped Tour’s main stage. Awsten Knight carries the band’s vocal duties and helps wake up the morning crowd with performances of “Blonde”, “Take Her to the Moon”, and more.

Waterparks

This Wild Life

While standing at the front of the stage to shoot This Wild Life’s gentle set, I couldn’t help but feel good for the security guards, finally relieved of flying bodies and crowd surfers for 30 minutes. The Long Beach duo’s quiet set is the perfect intermission for a day of loud noises, especially as their catalogue of songs continues to grow. The band performs tracks from their new album, Petaluma, while still finding time to throw in some oldies like “History” and “Concrete”.

This Wild Life

Frank Turner

Yes, THAT Frank Turner took the stage for a few Warped Tour dates this year. Each year on the tour, there are always a few surprises on the lineup that should be labeled required viewing. The English folk singer took to the main stage for an eight-song set that felt all too short, while still providing plenty of moments for sing-a-longs and even a few laughs. His closing performance of “Get Better” proved to be one of the highlights of the day.

Frank Turner

Senses Fail

One final run of Warped Tour just wouldn’t feel right without one of the screamo scene’s old guard in tow, and Senses Fail make for the perfect choice. Over 15 years in, vocalist Buddy Nielsen is still a sight to behold on stage, whether he’s playing old standards like “Bite to Break Skin” and “Calling All Cars” or even a few cover songs. The band’s latest release, If There is Light, It Will Find You, is one of the most underrated albums so far in 2018, and the band’s Warped set proves to be a reminder that Senses Fail still have plenty of life left.

Senses Fail

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.

Summer Soundtracks: Lydia – Illuminate

A lot of things can define a summer soundtrack. These are the albums that have been there through thick and thin, remind you of the best days of your life, and always get the party going. Think block parties, beach trips, and the smell of sunscreen. Per the usual, I don’t use these criteria to define my summer. The only one that applies here is that this is an older album. Lydia’s album Illuminate has been there for me for a long time. It turned 10 years old in March, but it’s not a dated album by any stretch.

You can buy or stream Illuminate on Apple Music.

The album isn’t what you think of when you think of a typical summer album, but it’s light, airy, and consistent. At 11 tracks, it’s almost an hour long and follows a storyline. Lydia is known for their theatrical musings, but that’s something the band has moved away from in their past couple of albums.

The reason I love this album and keep coming back to it is it’s lack of intensity. It’s easygoing and sad, but the music is so beautiful that you can’t stay away from it. I just remember where I was when I first heard “I Woke Up Near the Sea” (a Spotify curated playlist from forever ago) and it was in the summer. Nothing was wrong and everything was easy. I had finally been getting into my own music and building my repertoire and Lydia has been a constant member of my group of staple artists.

Evident in a lot of the points I bring up in my writing is the ocean. I love watery, oceanic metaphors and this album is full of them. Even the album art is a girl standing by the sea in the wind. There are a lot of references to drowning and being in over your head and I think these are the carotid arteries of both adolescence and young adulthood.

I didn’t realize it when I was 17 listening to this album for the first time, but adulthood is not easy. It isn’t just growing up and grocery shopping and driving. It’s so much more complicated than that. It’s going to the same job year after year and missing hours of sunlight. It’s watching bills pile up. It’s going to funerals for people who have died too soon. But it’s also going to weddings and first birthday parties. This album, despite its melancholy themes, still manages to find the balance. It’s gentle with your feelings.

I think that’s why I love it. The best albums run the emotional gamut. This album does lean more toward the sadder side of things, but sometimes that’s okay. There are lines like “We never stay lonely” (“Fate”), and “San Francisco sounds quite lovely / So I’ll just wait for your call” (“Stay Awake”). There are twinges of the positive to be found. The band clings to these moments.

The last song on this album is my favorite. Musically it’s intricate and there’s always something new to find. The best artists pay attention to the smallest details. The instruments aren’t just accompaniment in this album; there’s always a new set of sounds to explore. But this song hits the hardest because it ties everything together: “Now the One You Once Loved Is Leaving”. It ends with a Wurlitzer piano, and Mindy White brings the album to a lull as it fades out. There’s no loop, it just restarts the experience over again after the sound of a door slam. It ends cathartically. It’s not how you wanted it to end, it’s not how you planned, but there it is in front of you. Just like real life.

So I know this isn’t the typical summer choice. It’s not high energy or played on every radio station a million times; it’s not very fun. It’s quiet and insightful. It has its highs and lows. The reason I love it for the summer is because it makes me nostalgic for simpler times, and that’s what summer is all about.

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.

Summer Soundtracks: Jimmy Eat World – Bleed American

For me, summer will always be about adventure, long drives, and great stories. That’s why the first album I could ever count on this list is Jimmy Eat World’s Bleed American. Blistering pop songs swirling around themes of adventure and romance make it hard not to associate the album with the spirit of summer nights. Also, I absolutely ruined a road trip with this album in high school.

You can buy or stream Bleed American on Apple Music.

Shortly after this album’s release, my friend Max took a few friends on a road trip to an amusement and water park in southern Indiana. With his mom driving, we shuffled through a pile of CD’s, pulling out Bleed American somewhere near the start of the journey. I don’t remember if this was my first time hearing the album or not, but I know this is where I fell in love with it. Three of us sang along with every song for two back-to-back listens while Max’s mom drove on with a quiet smile.

At one point, Max changed discs to listen to something else, but the instant it ended, our friend Jim and I demanded Bleed American again from the backseat. Then again. And again.

Over the course of multiple replays, Jim and I obnoxiously sang along in the backseat with sugar-infused confidence and loudly protested every time someone tried to change albums. After several hours, his mom white-knuckled the steering wheel in rage. Max glared at us from the reflection of the rear view mirror. He passive aggressively sighed, “Jesus Christ,” between songs. The pile of other CD’s had been sneakily hidden from view or reach from the front seats, leaving only Bleed American to light the way like an angsty Rudolph.

Jim asked for someone to replay “A Praise Chorus” again for the third time in a row, which is the moment Max’s mom snapped.

“No! Anything else. Just for a while, please play anything else,” she protested.

“Please,” begged Max.

“Okay,” said Jim, “Can we listen to ‘The Middle’ then?”

Max took the CD out of the stereo and threw it in the glove compartment, a move he should have made hours earlier and looked out the window in seething anger until the pile of other albums was returned. This process repeated itself on the journey home, testing the boundaries of friendship and human decency for all involved.

Jimmy Eat World represents a core summer album for me. Bleed American finds a rich balance between crunching rock anthems and emotional ballads that mimics the hot days and cool nights. It was released in an age when I was just discovering my taste in music, and may be the first band I fell in love with that wasn’t exclusively Drive-Thru Records style pop punk madness.

Many of the band’s biggest hits came from this album and aren’t especially summer themed, but there is an added sense of magic associated with them in the right atmosphere. Jimmy Eat World’s music has mellowed over the years, but Bleed American will always burn with the energy of an era when we were just beginning to explore the world at large.

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 just realized he is absolutely out of food because it rained yesterday and the grocery is far away. He is a good adult.

Summer Soundtracks: Cobra Starship – ¡Viva la Cobra!

I’ve often said that autumn is my favorite season for music, with so many albums in my collection deeply associated with zip-up hoodies, campfire crackles, crunching leaves, and cigarette smoke inside gritty venues. Even so, every single summer, I find myself drawn to the albums that have defined the warmest of seasons in my life. Thus, I decided it was worth my time to start a series that highlights my favorite soundtracks to summer.

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Like most people, I first heard Cobra Starship while inside a movie theater. Also like most, I assumed that the “Snakes on a Plane” post-credits music video for “Bring It” was a one-off joke track featuring a stacked lineup of scene stars. By the time While the City Sleeps, We Rule the Streets dropped later in 2006, I remember a flicker of curiosity, but my prevailing reaction was one of indifference.

You can buy ¡Viva la Cobra! on Apple Music.

With that in mind, it’s hard for me to remember how I came to fall in love with ¡Viva la Cobra!, the first full band release from Cobra Starship. To my memory, there wasn’t a standout track that pulled me in. Nevertheless, the album ruled the summer of 2008, rarely leaving my car’s CD player. The highlight of that summer came while standing near the front of the main stage at the Vans Warped Tour as Gabe Saporta strutted back and forth and Elisa Schwartz rocked out on keytar.

I vividly remember smiling wide and singing along with those around me before losing my mind when William Beckett came on stage to perform “Bring It” with the group that day in Cincinnati. I remember buying a purple, hot pink, and neon green Cobra Starship shirt at Hot Topic and wearing it at least once a week throughout the summer. I remember driving around Louisville at dusk, playing tracks like “Angie” and “Kiss My Sass” on repeat.

Oftentimes, these nostalgic memories are shared en masse as songs of summer impact millions of music listeners, creating a collective moment. However, ¡Viva la Cobra! was far from a smash, as Saporta would experience a greater fame with hit singles on later albums. To be honest, none of my friends listened to Cobra Starship in 2008, making this random sophomore effort all the more personal.

The album itself is sultry and danceable, but is a tongue-in-cheek end-of-the-world “party” built atop somewhat satirical electro pop songs pumped full of scene cred. It’s the kind of album only a select group of listeners could truly “get,” making it even more niche and peculiar. Saporta wouldn’t lean fully into cranked up club pop until Hot Mess and Night Shades, realizing the opportunity that this groundwork had provided him. At least for 2008, Saporta was still winking at the camera with the same smirk he flashed before the screen went black during “Snakes on a Plane”.

During a time when a younger version of myself was enraptured with metalcore, regularly blasting the likes of Underoath and The Devil Wears Prada, ¡Viva la Cobra! was a reprieve from the breakdowns and raging guitars. How can you not roll down the windows and belt the chorus to “Smile for the Paparazzi” or bounce to the beat of “My Moves are White (White Hot, That Is)”? ¡Viva la Cobra! is a crash landing of pop bliss and emo influence that still stands as an oddly satisfying experience.

My interest in Cobra Starship was fleeting – I never owned another album before the group disbanded, and I return only to ¡Viva la Cobra! when the temperatures rise and I’m in the mood to move. It reminds me of a time when I was willing to privately expand my musical palate and begin to explore my love of pop music, even if I was still holding some resistance. Most of all, it reminds me carefree summer nights – the ones I still chase even as they become rarer and rarer.

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.