The Best Albums of 2018

You can view our list of The Best Songs of 2018 here.

Let’s face it: 2018 was not a great year. Fortunately, amidst the constant deluge of infuriating news, the year provided us with a flood of incredible new music. It was a year in which old friends returned, sounding better than ever. A year in which new artists made their mark with exciting debuts. A year in which some of our favorite artists delivered some of the best music of their careers.

Most importantly, the best music of 2018 offered us a much needed reprieve from the noise, and in many cases, provided helpful commentary and a voice for the marginalized. Whittling the list down to 15 wasn’t easy, but we think these albums best captured our ears and our hearts. Take a look below to read more about the albums that the It’s All Dead writing staff found to be the best and most important releases of 2018.

15. Eisley – I’m Only Dreaming…Of Days Long Past

I’m Only Dreaming… Of Days Long Past is a reinvention of an album barely a year old and one of the best albums of 2017. This new take on the record adds a moodier, dreamier landscape to an already ethereal album. Relying heavily on the majestic voice of Sherri Dupree-Bemis and the simplest melodies, this take on one of Eisley’s best albums somehow feels more honest, heavier and emotional in all of the best ways. Songs of beguiled confidence and love like “Defeatist” and “Louder Than a Lion” carry more weight and atmosphere than most songs have any right to. Eisley don’t need to reinvent themselves to be their very best – they just need to keep dreaming. – Kyle Schultz

14. Real Friends – Composure

My choices for end-of-year-lists are very personal. They’re chosen because I like them musically, thematically, lyrically – you name it. Composure is here because of how important of a story it tells. We see a firsthand account of someone dealing with mental illness. It’s a perfect picture of the way people process mental illness in their lives and has become a staple of how I get out of my own slumps and bad days. It’s a great album through and through, but I think, for me, its relevance is what brings it to the top for me this year. – Nadia Paiva

13. AFI – The Missing Man

AFI are meticulous with their releases. The Missing Man EP is looser than any of their full albums are allowed to be and dips far into their punk rock roots. The Missing Man treads a fine line between the dark conceptual stories of AFI’s best recent albums and the quick skate punk that helped raise the group to prominence 20 years ago. It’s a taste of everything that makes AFI. The Missing Man shows that not only are AFI constantly striving for something new with their music, they’re constantly updating their history. – KS

12. mewithoutYou – [Untitled]

I think [Untitled] is mewithoutYou’s best release to date. It’s lyrically exciting and delves into a lot of new territory for the band, without ever losing what makes the band so unique and special. It’s musically exciting and they’ve proven that they’ve still got what it takes to create something new. This album is a constant in my rotation and I doubt that will change any time soon. I love an album that takes some effort to work through and this was the perfect project and challenge for me this year. – NP

11. Underoath – Erase Me

A band that spent its heyday pushing genre boundaries and shifting the notion of what modern heavy music could sound like returns eight years after its last release to continue its evolution. Fans can argue until the sun explodes about which Underoath album is the best – and there are several great ones to choose from – but consider this: With Erase Me, Underoath chose not to live in the past, creating an unexpectedly accessible and divergent release that carries on the spirit of a band that would never settle for stagnation. It’s just about the most “Underoath” thing the band could have done, and the fact that it resulted in their second-ever Grammy nomination makes things just that much sweeter. – Kiel Hauck

10. Pusha T – Daytona

In 2002, Pusha T helped soundtrack my freshman year of college atop percussive beats from The Neptunes on Clipse’s smash release, Lord Willin’. Sixteen years later, at the age of 41, King Push may have unpredictably created his masterpiece. Daytona is a perfect exercise in minimalism, finding Push flexing his crisp and surgical delivery atop sample-heavy beats that allow his voice to drive the songs forward. At seven tracks long, there is no filler – just 21 minutes of canvas for one of the most underrated rappers of our time to finally stake his claim as one of the greats. If Yeezus showed us what modern hip hop looks like when stripped down for parts, Daytona displays the beauty of rap as a timeless art form – no-holds-barred, no tricks. Just one of the best lyricists of our generation writing his long-overdue coke rap thesis. – KH

9. Panic! at the Disco – Pray for the Wicked

When Brendan Urie transitioned Panic! at the Disco towards pop superstardom, I was hesitant. Death of a Bachelor felt somewhat forced to me, though I eventually came around. Pray For The Wicked is a masterpiece that cultivates the best aspects of every one of Panic!’s past releases and merges them into a mini concept album about the glamour and steep price of stardom (“Hey Look Ma, I Made It”). Each song has a unique flair, style and message that dances toward a larger story about fame. Pray For The Wicked is arguably Urie’s potential opus. It solidifies him as one of the biggest pop stars in the world as much as it honors everything that has ever made Panic! at the Disco beloved. – KS

8. The Wonder Years – Sister Cities

Sister Cities is a special album for The Wonder Years. It seems like it could be the last major release we get from the band for a while, with Dan Campbell’s pending fatherhood and the band’s other ventures, including their new subscription service. The album is quintessential Wonder Years material, yet showcases that the band is still heavily focused on musical growth, and at their stage in the game, it’s important that their love for what they do is still present. Sister Cities proved that The Wonder Years are far from running out of creativity, and I look forward to how they’ll channel that in the next season of their existence. – NP

7. Cardi B – Invasion of Privacy

Even before the release of her debut studio album, Cardi B was ascending to rap legend status – an uncategorizable and unpredictable figure, harkening back to days when rappers like Biggie and 2Pac seemed larger than life. That Invasion of Privacy actually lived up to the ungodly hype built on viral sensations like “Bodak Yellow” is a testament to her drive and talent. The album is deeply personal, truly funny, and wildly entertaining. But more than that, it’s the story of self-empowerment and standing firmly confident as a rapper in a genre that has for so long marginalized women. Cardi refuses to be quieted or sanitized to fit a mold or play a part – with Invasion of Privacy, she’s snatching the game without asking for permission, with no intent of backing down. As she states on album closer, “I Do”, “My little 15 minutes lasted long as hell, huh?” – KH

6. Justin Courtney Pierre – In the Drink

In The Drink is an album equally familiar and adventurous beyond its comfort zone. Justin Pierre proves himself to be one of the greatest songwriters of his generation, something few already doubted. With the opportunity to create a sound truly his own, the fact that In The Drink sounds like an extension of Motion City Soundtrack adds credence to how honest his writing has always been. Whether toying with orchestration in “Undone” or diving face first into punk songs like “Ready Player One”, In The Drink is an unapologetic rock album filled with self-depreciative humor, inner turmoil and anthems of confidence. In The Drink delves as far into Pierre’s past as it does his future and is all the better for it. – KS

5. The 1975 – A Brief Inquiry Into Online Relationships

There’s no doubt that this has been an exhausting year in terms of our current social climate. The 1975 wrote a whole album about it and released it right at the end of the year. I generally never choose an album that’s been too recently released because I don’t feel like I get enough time to really pick it apart and find all of its pros and cons, but I felt at home with A Brief Inquiry Into Online Relationships almost immediately. It’s beautifully composed and full of good conversation starters. Maybe we can take some of the advice offered to us within it and make 2019 a better year. – NP

4. Architects – Holy Hell

On the surface, one might find metal to be the perfect genre for processing the stages of grief. But what about ponderances on the mere idea of grief and loss and what it means to move forward with a quiet understanding of our fate? With Holy Hell, Architects created one of the most powerful and purposeful metalcore releases of our time. Part lament of fallen comrade and key songwriter Tom Searle, part meditation on existence and death, Holy Hell pulls no punches when tugging at some of the hardest questions we rarely speak aloud. From the technical, brutal brilliance of tracks like “Death is Not Defeat” to the more gentle introspection of “Royal Beggars”, Holy Hell is both a sonic and thematic masterpiece that finds ways to let hope glimmer through the wreckage, just as Sam Carter delivers during the album’s closing track: “Love comes at a cost, but all is not lost”. – KH

3. Fall Out Boy – MANIA

MANIA is one of the best albums Fall Out Boy have ever released in a discography already stacked full of career-defining records. MANIA is an album that forces listeners to earn its respect. It hones the sound of modern pop music to a razor’s edge, blurring the lines between genre and takes risks that would ruin lesser artists. Fall Out Boy are at the height of their ability by pushing back against anyone hoping for just another pop punk record. Stadium anthems like “Last of the Real Ones” and rock songs like “Champion” are new staples to live shows as much as they are battle cries of rock music in an era when the genre seems largely ignored. MANIA is the result of two albums’ worth of experimentation and adventure, and it’s now hard to argue that Fall Out Boy’s best days are behind them. – KS

2. Pianos Become the Teeth – Wait for Love

On Wait for Love, there isn’t a spot where I say to myself, “Eh, that could’ve flowed a little smoother,” or, “There’s too much of a lull in the action.” This fourth full-length album is perfect from front to back, and probably from back to front. Lyrically, it’s meaningful and relatable in a way that a lot of rock music isn’t. It’s a beautiful display of how a band can mold and shift to fit in with their changing personal lives. I think I’ve listened to the album at least once a day since its release, and I haven’t done that with an album since 2013, so you know the love is real. – NP

1. Kacey Musgraves – Golden Hour

It’s easy to be distracted by the many narratives swirling around Golden Hour, the fourth studio album from Kacey Musgraves. Stories of acid trips during writing sessions and outspoken support of the LGBTQ community from one of country music’s rising stars. Yet underneath it all is a warm and affecting collection of songs that take time to look for beauty wherever it can be found, even within the most imperfect of us. In a year like 2018, it’s a 45-minute exercise in relief.

Call it genre-bending if you like – Musgraves boldly grafts in disco and indie rock elements to balance out the twang – but at its core, Golden Hour is a perfect pop album. Songs like “High Horse” and “Lonely Weekend” effortlessly find the perfect balance of sound that so many mainstream country artists have been aiming at for years. Musgraves makes it seem almost too simple – just be yourself and write songs from your heart. That the resulting album feels so counter to our expectations could very well amplify the point she’s trying to make. As Musgraves so eloquently puts it during opener “Slow Burn”, “I’m alright with a slow burn / Taking my time, let the world turn / I’m gonna do it my way, it’ll be alright”. – KH

Honorable Mention

Vince Staples – FM!
Janelle Monáe – Dirty Computer
Lydia – Liquor
Black Panther: The Soundtrack
As It Is – The Great Depression

Posted by Kiel Hauck

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Podcast: Interview with Trenton Woodley of Hands Like Houses

On October 12, Canberra, Australia, rock band Hands Like Houses released their fourth full length album, Anon. on Hopeless Records. As the band hits the road for their headlining U.S. tour, Kiel Hauck caught up with lead singer Trenton Woodley to discuss the new album and the band’s sonic journey on our latest podcast. Woodley also shares details about the band’s songwriting progression over the years, how to evolve as an artist while bringing your fanbase along for the ride, and how Hands Like Houses keep up with an ever-evolving music industry. Listen in!

Subscribe to our podcast here.

Posted by Kiel Hauck

Podcast: Talking Lauryn Hill, Frank Ocean with Cole Cuchna of Dissect

As The Miseducation of Lauryn Hill turns 20, Cole Cuchna has launched a new mini-series on the classic album for his massively successful Dissect podcast. Cuchna joins Kiel Hauck to reflect on the album and its influence before delving into the work of Frank Ocean, as covered in season 3 of Dissect. Cuchna also shares details about his process when examining music and discusses how empathy continues to play a key role in his work. The two also converse on the future of podcasting and how the medium as continued to evolve in recent years, attracting even more invested listeners. Listen in!

Subscribe to our podcast here.

Posted by Kiel Hauck

Queue It Up: November 12, 2018

This week’s Queue It Up is somewhat predictable because our first track is “thank u, next” by Queen of Pop, Ariana Grande.

I know, I know. You saw it coming. Well guess what? “thank u, next” is a straight up jam. Not only was it totally savage of Ariana to release the track right before an SNL episode featuring ex-fiancé Pete Davidson, it was even more savage of her to spin it around and turn it into what is arguably the biggest self esteem boost in music. Not gonna lie, when she started referring to herself as the biggest part of her own character development, I teared up a little. It’s an important message for everyone.

Next we have As Cities Burn. They’re back with a new track called “2020 AD”. They also recently signed to Equal Vision, which means we should get more than one track, assuming all goes well. I’d like to chalk their return up to the episode of the Labeled podcast where Toby Morrell of Emery basically forced them to metaphorically kiss and make up, but I could be wrong. Either way, it’s a great track.

Finally, we have Regina’s Spektor’s “Birdsong”. It was featured in an episode of that new show, “The Romanoffs”, which I know nothing about and most likely will not watch. The song is lovely, but honestly, what else should we expect from Regina Spektor? It’s a quick track, literally one minute and 40 seconds long, so you have no excuse to skip it.

Have a great week!

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.

Podcast: Interview with Lindsay Zoladz of The Ringer

On our latest podcast, Kiel Hauck talks with Lindsay Zoladz, music and pop culture critic with The Ringer. During the conversation, Zoladz talks about the evolution she’s seen take place in music journalism during her time with The Ringer, Pitchfork and more, while also discussing the obstacles still facing women in the music industry. Zoladz also shares her thoughts on how the current political climate shaped pop music in 2018 and breaks down some of her favorite albums of the year. Listen in!

Subscribe to our podcast here.

Posted by Kiel Hauck

Queue It Up: November 5, 2018

While there may not have been that many notable albums hitting shelves last Friday, some of our favorites released some individual tracks that I know everyone will be interested in.

First up is the King of Emo himself, Gerard Way. Just in time for Halloween, Way turned in “Baby You’re a Haunted House”, a short song about the way we hide things in relationships. The “haunted house” refers to all the things that are wrong in Gerard’s subject’s life, and the way he or she masks that is by making it look like it’s not a big deal.

Gerard says in the bridge, though, “I’ll be the ghost inside your head when we are through”, and it seems like one of the biggest problems is the relationship itself, and when it ends, they’ll add Gerard to the group of things inside the haunted house. Perfect for both Halloween playlists and for crying your eyes out when you’re the ghost.

Next we have ”Pope” by Copeland. The track is not officially attached to an album or an EP (yet), which is equally exciting and terrifying. Just one mystifying track. With sprinklings of dialogue in the middle and at the end, Copeland really keeps surprising us with every new release. Whatever this turns into, “Pope” itself seems like a B-side from Ixora, and that thrills me.

The band performed “Pope” at their Imperial Symphony Orchestra show, and on the web page for that show, it states that, “Lakeland rock band Copeland will release a sixth album in Spring 2018,” which, granted, has already passed us by, but gives me hope that whatever happens next will be beautiful.

Finally, hot off the presses as of this author’s recording, and perhaps the most praise-hands-emoji inducing, is “Baby”, the new track from Clean Bandit featuring Luis Fonsi and Marina Diamandis. I am especially excited because this track will also be on Marina’s next studio album. She’s back, even when we all thought she never would be. There was a comment on this song calling it “Despacito ,,” and to be honest, if that were the case I wouldn’t even be mad. The track is catchy and totally dance-worthy, and the video is just as great.

So, some rad new jams to throw in your rotation…Enjoy the week!

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.

Podcast: Reflecting on Five Years of It’s All Dead

Five years ago, we had a crazy idea to launch a website and a podcast. It’s been a wild and incredibly fun journey in which we’ve been able to tell the story of how music impacts our lives and the lives of those around us. As we reach our five year anniversary, we decided to use our podcast to look back on the ride, sharing our favorite stories, our favorite albums, and our favorite bands of the past half-decade. Have our opinions held up? Would we do anything differently? Is Kyle Schultz truly the biggest The Wonder Years fan on the planet? Listen in!

Subscribe to our podcast here.

The past five years of It’s All Dead truly could not have been a reality without you (yes, you!) We’ve been so fortunate to grow an audience that’s as passionate about music as we are. As we get ready for the next five years, please use any variety of avenues to contact us and let us know what you’d like to see. Leave a podcast review, post a comment, send us an email. We love hearing from you. Thanks again for everything!

Posted by Kiel Hauck

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.

The Devil Wears Prada Turn Back the Clock for Anniversary Tour

The Devil Wears Prada have been a part of my life for over a decade, first as a kind of scene-core guilty pleasure and later as a band that expanded my heavy music palate. Attending the 10th anniversary tour for the band’s third studio album, With Roots Above and Branches Below, serves as a reminder of how far the band has evolved and how much I still enjoy those cheesy early moments.

I remember hearing Mike Hranica’s shriek of, “I know a ghost!” followed by the br00talist of breakdowns while attending Warped Tour in 2009, thinking this was what heavy music was supposed to sound like. In a matter of two years, the band’s Zombie EP and Dead Throne would make tracks from With Roots Above sound silly. Even so, revisiting the album leading up to the show and witnessing the anniversary tour itself reminded me how much fun these songs really are.

Fit for a King

In support of the tour, Prada brought along noise rockers ’68, featuring Josh Scogin, formerly of The Chariot and Norma Jean, and Fit For a King, another metalcore act currently five albums deep into a run with Solid State Records, the new home for The Devil Wears Prada. Both set the table well for a night of guttural screams and bass-heavy breakdowns.

After a five song introduction, which includes the band’s recent cover of Julien Baker’s “Sour Breath”, Prada kicks into Roots. What I’m first struck by is how fun it is to sing along to these songs, particularly guitarist/clean vocalist Jeremy DePoyster’s parts. Midway through opening track “Sassafras”, the crowd joins as a choir for Depoyster’s lines of, “What should we ask for? Who should we turn to / If all we know is burning bridges?” It’s a wonderful blast from the past and a delightful preview of what’s in store.

The Devil Wears Prada

Indeed, the crowd is invested and involved, especially for tracks like “Dez Moines”, “Danger: Wildman”, and even the band’s softest track, “Louder Than Thunder”. Each of the album’s 11 tracks features at least one moment that brings the crowd alive – a clear signal of what makes an album special 10 years after its release.

While it’s true that the band would never write parts like the goofy keyboard interlude on “Big Wiggly Style” or default to such cringeworthy song titles post-2009, With Roots Above and Branches Below still serves as a time capsule, marking the moment when The Devil Wears Prada stood atop the scene. Their later work would explore the boundaries of modern metalcore before investigating more ambient and experimental rock sounds, pushing them beyond the Warped Tour crowd and placing them amongst new peers.

It’s almost hard to believe that the band I remember discovering as a group of hungry teenagers is now six full length albums and two EPs deep into their career. While I’ll never hesitate to dive into whatever The Devil Wears Prada releases, I’m grateful for a night allowing me to travel back to an album I had largely written off, forgetting that sometimes it’s okay to head bang to a silly breakdown with a smile on your face.

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.

Nirvana Members Reunite to Play Cal Jam 2018

This weekend, Foo Fighters held their second annual Cal Jam music festival at San Bernardino, California, resulting in a surprise set from Nirvana. During the six-song set, Dave Grohl and Krist Novoselic were joined on stage by Deer Tick’s John McCauley and Joan Jett, filling in for Kurt Cobain for three songs each.

Jett joined the band for “Smells Like Teen Spirit”, “All Apologies”, and “Breed”, while McCauley took the stage for “In Bloom”, “Serve the Servants”, and “Scentless Apprentice”.

Watch a few of the performances below:

Grohl and Novoselic previously got back together to perform during Nirvana’s Rock & Roll Hall of Fame induction and during a 2012 “Saturday Night Live” appearance with Paul McCartney.

Which song from the performance is your favorite? Share in the replies!

Posted by Kiel Hauck