Review: Blaqk Audio – Only Things We Love

The sheer amount of content Davy Havok and Jade Puget release is utterly staggering. The fact that each release is near perfect is frightening. Blaqk Audio, the AFI duo’s electronic project, is relentlessly hypnotic. Dance beats, new wave melodies and Havok’s signature melancholy blend to create a sound that feels as familiar as it is unique. Only Things We Love isn’t the group’s best release, but it’s so close it may as well be.

You can buy or stream Only Things We Love on Apple Music.

It’s hard to peg the meaning behind Blaqk Audio’s albums (or AFI’s, for that matter) due to Havok’s ambiguous writing style. The concepts behind Blaqk Audio releases tend to be far more romantic than any of Havok’s other projects. As such, Only Things We Love is about conquering the anger of youth that prevents us from loving someone else… or it’s about the confessions of a serial killer?

Havok’s vocals are again a demonstration of why he may be the best singer currently active. Decidedly different from the screams and crooning of AFI, Havok’s voice is poignantly drenched in new wave sensationalism. Utterly relaxed, he shifts comfortably between soft verses to energetic, rampant choruses. Powerful inflections in tone give his performance a superb edge that puts Only Things We Love as yet another highlight of Havok’s sensational voice (“Dark Times At the Berlin Wall”).

Puget’s arrangements are among Blaqk Audio’s best. The industrial electronic beats are deep, commanding and pulsing. The best part about Puget’s dance music is that it finds a perfect blend with modern electronica, detailed new wave melody and the corny catchiness of Dance Dance Revolution’s heyday (“Matrimony and Dust”). The downside is that Puget has used many similar synth tones for the last few records. Despite improvements from album to album, there is an argument that the underlying music for each Blaqk Audio release doesn’t do nearly enough to distinguish itself from any past album.

Despite Havok’s best descriptions of gore, such as on opening track “Infinite Skin” (“Blood on the corner / Love on a dead end street / You heard them warn her, when you first heard of me”), Only Things We Love is an album about lost love and learning to forgive. Lead single “The Viles” describes the pain of the aftermath of a break up against Puget’s pulsing synth. Havok pointedly shouts, “Day may break me. Daylight like she, like she burns / Through five nights when all is not right / And again, we meet here”.

Not all is as dark, as songs like “Summer’s Out of Sight” describe the memory of a relationship at the height of passion. Puget’s melodic bass lines and twinkling keyboards shine beneath Havok’s hopeful verses (“I had to crawl the halls to ask when we might meet before you left / You said, ‘Maybe tomorrow or never again’ / But you said, ‘Right now I’m yours’) and the devastated chorus (“Hearing you leave out my name makes me want you / You personalize pain”).

For an album relishing the sound of 80’s new wave electronica, nothing personifies it more than closing tack “Matrimony & Dust”. An elegant homage of 80’s cliches, the song finds the characters meeting again to finally move on to healthier relationships. The sincere tenderness of Havok’s voice as he croons, “And would you believe, somehow, that I am married now?” is astonishing, considering he’s a singer who became famous for throat-shredding screams and skate punk shouting.

Only Things We Love is a bitter album, but not without purpose. In what might be the biggest surprise from Havok, there’s hope in the darkness. The album is humane, carries a sincere resolution and stays true to the era that inspired it. It straddles a fine line between being Blaqk Audio’s most brutal and sweetest album. Fans of the band will find exactly what they expect, and newcomers will find what might be the single most accessible album Havok and Puget have ever written.

4.5/5

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 is typing blindly right now while the cat sits in front of his monitor. Her judgemental gaze is not unlike that of a giant squid.

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Podcast: A Look Back at the Year in Music

As 2017 comes to a close, Kiel Hauck and Kyle Schultz take a look back at the year in music. During the discussion, the two share some of their favorite albums from 2017, including releases from Kendrick Lamar, AFI, Lucky Boys Confusion, Paramore and much more. They also talk about what could have been and reflect on recent music news that shaped the year. Listen in!

Subscribe to our podcast here.

What are some of your favorite albums of 2017? Share in the replies!

Posted by Kiel Hauck

The Best Songs of 2017

You can view our list of The Best Albums of 2017 here.

In a year in which great albums were abundant, it goes without saying that great songs were aplenty. In just a matter of minutes, a great song can do a lot: It can take us somewhere blissful, it can make us think, it can change our perspective, it can help us forget. Our list of the Best Songs of 2017 have a little bit of everything.

Below, you’ll find songs from a variety of genres telling diverse stories. These tracks were anthems for overcoming, therapeutic outlets of emotion, ballads of love, and laments of the soul. No matter your druthers, we think you’ll find something to love. Take a look – and a listen.

15. Jake Bugg – “Southern Rain”

Jake Bugg is an extraordinary talent. Releasing almost an album a year since the start of his career, he has managed to tap into a multitude of genres while maintaining a distinct sound all his own. “Southern Rain” is a folksy ballad that manages to softly tell a story of grieving a fallen romance. However, the dreamlike soundscape and lyrics constantly remind that even in dark times, there is always something brighter just around the corner. For a song that sounds so light, it is dense with the sounds of mandolin, harmonica, keyboards, and the crisp tap of piano. Though Bugg’s lyrics stay melancholy, the music is so bright and hopeful that it promises relief. – Kyle Schultz

14. Harry Styles – “Woman”

“Woman” is one of the most enjoyable tracks on Harry Styles’ self-titled solo album. Regardless of the groovy sonic choice he made, the lyrics themselves follow a thematic trend in this year’s pop music of discussing a failed relationship. Styles’ vocal prowess shines all over the album but “Woman” is smoother than any other song. Reminiscent of psychedelic ‘70s rock, this track is easy on the ears and all around well-configured. It’s a lovely and promising example of what we can expect from post-One Direction Harry Styles. – Nadia Paiva

13. Dreamcar – “All of the Dead Girls”

DREAMCAR, the supergroup of AFI’s Davey Havok and the band from No Doubt, is a surreal project of pop and new wave rock. “All of the Dead Girls” is a true summer song dripping with beach-ready drumming and a bassline that slides beneath any 80’s montage of men playing volleyball. Havok’s sassy vocals describe the make-up clad “dead girls” that will “never blush” as he stalks the beach. For a singer known for delving into the darkest aspects of the psyche, Havok relishes in taking the haunted tangles of relationships into the sunlight for a stroll. Featuring a baritone sax and a cat’s howl, “All of the Dead Girls” is a truly unique song that never takes itself seriously from two bands that always are. – KS

12. Jay-Z – “The Story of O.J.”

Fans that waited with bated breath since the release of Beyoncé’s damning Lemonade would suffer little disappointment in Jay-Z’s 4:44. There’s a lot to parse through, but Jay makes each moment count, and such is the case with “The Story of O.J.” Jay uses clever samples and poignant lines to capture the struggle of blackness in a racist society, regardless of status, wealth or complexion. It’s an artful display of Jay-Z’s success viewed through the lens of a racist America and Jay’s own battle to push his wealth and progress into something even more lasting. It just might be the highlight of his surprising second act. – Kiel Hauck

11. Palisades – “Better Chemicals”

When Palisades left their electonicore leanings in the past for this year’s self-titled release, they didn’t throw the baby out with the bathwater so much as they refined the best parts of their existing sound. On “Better Chemicals”, the band forgoes cheeky electronics and samples for tastefully placed programming that elevates the track to another level. Vocalist Louis Miceli Jr. uses the opportunity to showcase his transitional ability that explodes during a chorus of, “Need better chemicals, I know / Cause nothing helps anymore, oh no”. It’s a jarring movement into serious territory for the band and a perfectly crafted track that crackles with rock energy. – KH

10. The Early November – “In Currents (acoustic)”

As one of the first singles after the band’s reformation, “In Currents” was a nostalgic pop song that meshed minimalistic instrumentation before exploding in a torrent of sound in the chorus. It showcased almost every aspect of what made The Early November’s sound so iconic. The stripped-down version on Fifteen Years only features a bouncing guitar and a theremin-inspired synth line that turns the song into an inspirational ballad. The true star of the song, though, is Ace Enders. Enders pushes his voice as hard as he ever has, while maintaining an emotional weight that seems impossible. The result is an acoustic cover that not only surpasses the original, it deserves to be remembered among the top of The Early November’s achievements. – KS

9. PVRIS – “What’s Wrong”

“Don’t need a metaphor for you to know I’m miserable”. That crushing closing line during the chorus of “What’s Wrong” sets the stage for a sophomore follow-up from a band overwhelmed with responsibility and possibility. PVRIS harness the best of their synth-laced melodic pop rock as vocalist Lynn Gunn lays bare her fears in the face of the band’s rise to prominence. “When did I get so pitiful / Just a goddamn corpse in a centerfold”, she laments, vocalizing the struggle of a female lead in the midst of a misogynist scene. It is at once a monumental sonic step forward for a band full of potential and a dark look inside the mind of an artist in doubt. – KH

8. AFI –” So Beneath You”

While other AFI songs have mocked and questioned religion, “So Beneath You” is the most aggressive and militant. Punk rock at its purest, the song teases the band’s hardcore influence. Jade Puget can write some of the most mystifyingly beautiful guitar lines known to man, but sometimes he is at his best when strangling power chords as Davy Havok just shouts at the sky. Rather than mock the idea of religion, Havok instead issues a direct challenge as he croons, “I won’t kneel, I won’t bow / If you’re there God, strike me down, strike me down / You won’t”. Challenging standards and demanding more of their audience than most bands, “So Beneath You” exemplifies what makes AFI such a beloved band and manages to be one of the year’s best rock songs. – KS

7. Lorde – “Hard Feelings/Loveless”

Much of Lorde’s Melodrama is based on the toll fame takes on an artist, notably in their interpersonal relationships. One of the most poignant moments is found right at the end of the first portion of “Hard Feelings/Loveless”, in which she reminisces on a past relationship, stating “I’ll start letting go of little things / ‘Til I’m so far away from you / Far away from you”. What is so impressive about this song is how seamlessly she changes from the topic of her own relationship to the topic of relationships in general in our digital world, and how we don’t always place the value on them that they deserve. It’s relatable and one of the most memorable tracks on a beautiful album. – NP

6. Halsey – “Strangers”

Amidst a brave retelling of Romeo and Juliet, Halsey uses “Strangers” as an LGBTQ love song, dropping the pretense of well-worn pronouns. Here, she and Lauren Jauregui trade lines of longing atop richly-inspired 80s synthesizers. “She doesn’t kiss me on the mouth anymore / Cause it’s more intimate than she feels we should get”, Halsey opens, before Jauregui’s response of, “She doesn’t let me have control anymore / I must have crossed the line, I must have lost my mind”. It’s a delightfully sensual, deeply danceable track of star-crossed lovers and an example of Halsey’s feel for the pulse of modern pop. There aren’t many that do it better. – KH

5. Kesha – “Praying”

“I hope you’re somewhere praying / I hope your soul is changing”, Kesha belts at her abuser on one of the year’s most emotionally powerful tracks. It’s a stark pivot for the artist herself, but an even more powerful statement in a year in which our culture begins to fully realize the deep claws that sexual abuse holds in our society. As the song builds towards its crescendo, Kesha finds the strength to flip the power imbalance that held her hostage for so long: “Cause I can make it on my own / And I don’t need you, I found a strength I’ve never known / I’ll bring thunder, I’ll bring rain / And when I’m finished, they won’t even know your name”. If chills don’t run up your spine, you must have held your head in the sand for the entirety of 2017. – KH

4. Liam Gallagher – “Wall of Glass”

For fans of Oasis, there will always be the eternal argument of which Gallagher brother is the favorite. While Noel has experimented with his sound on his own solo venture, Liam Gallagher’s first solo single is the best song Oasis never wrote. The rich layers in “Wall of Glass” are mesmerizing – the dance club beat, the bobbing bass line, the show-stealing harmonica, the ghostly back-up singers, and the sizzling guitar all hide beneath some of the best vocals Liam Gallagher has ever recorded. It’s a testament that the best sounds aren’t always found by pushing for something new, but by tilling what has already been laid as the foundation of expectation and kicking the shit out of it. “Wall of Glass” sounds like it aimed to be the best rock song of any year in the last two decades and pulls it off with style to spare. – KS

3. Paramore – “Fake Happy”

It’s no secret that Paramore drew inspiration from their experience with mental illness with the track “Fake Happy” from After Laughter. What sets it apart from other songs on the topic is its accessibility. Undoubtedly, many listeners will identify with the lyrical themes but also find enjoyment in the musical quality, most especially in the infectious bridge which puts a smile on even the most downtrodden of us. The music video (directed by the band’s own Zac Farro) shows that idea perfectly, and is the cherry on top of an already beautifully displayed picture of humanity. – NP

2. Kendrick Lamar – “DNA.”

Kendrick Lamar’s DAMN. begins with a chilling short story before audio from a Fox News broadcast admonishes the message of Kendrick’s 2015 Black Lives Matter anthem “Alright”. Before the clip can reach completion, Lamar bursts through the door with “DNA”’s opening lines of, “I’ve got loyalty, got royalty inside my DNA”. Throughout the track, Kendrick flexes his varied vocal deliveries over a rattling bassline, juxtaposing earned braggadocio with self-deprecation as he inspects the inner workings of his soul. It’s the perfect opening to the year’s best record and an eardrum vibrating reminder that Kendrick’s talent surpasses his peers, both in execution and in content. – KH

1. Julien Baker – “Appointments”

It’s difficult to fully quantify the progression from Julien Baker’s debut to this year’s Turn Out the Lights, but if you were to point to a single track as an example, it would be “Appointments”. Atop a painfully lonesome guitar and piano, Baker lays out the private battle of depression and the strain it puts on relationships. Yet above all of the excruciating imagery is something more vital and more powerful – a will to overcome. When Baker lets loose with her belted vocals of, “Maybe it’s all gonna turn out alright / Oh, I know that it’s not, but I have to believe that it is” at the song’s conclusion, it’s a reminder that some small battles can be momentarily won – a perfectly humble message from one of music’s most exciting young voices. – KH

Honorable Mention:

Carly Rae Jepsen – “Cut to the Feeling”
Vince Staples – “Big Fish”
Taylor Swift – “…Ready for It?”
Acceptance – “Colliding by Design”
Haim – “Want You Back”

Posted by Kiel Hauck

The Best Albums of 2017

You can view our list of The Best Songs of 2017 here.

Another year is in the books, and while it’s easy to dwell on the negatives of one of the strangest years in recent memory, 2017 was certainly not wanting for incredible music. In fact, 2017 produced so many great albums, it’s hard to show end-of-the-year love to all that deserve it. But we’re going to try anyway.

Our list of the best albums of 2017 touched on a variety of powerful and important topics, from social injustice to mental illness to the strength it takes to shift power imbalances and overcome abuse. The artists below not only thoughtfully tackled important themes, but did so in a way that made us move and forced us to find hope in the mist of brokenness. Without further ado, take a look at some of the best albums of the year.

 

15. New Found Glory – Makes Me Sick

When New Found Glory release an album, there is a certain expectation for how it should sound. When they release an album that manages to branch out enough to rank as one of their more unique releases, it is something to pay attention to. Makes Me Sick is a true summer album that delves into cavity inducing pop while maintaining mosh-ready guitars (“Call Me Anti-Social”). The synth that make its way into the album make each song instantly recognizable, especially as the band take stabs at the world around them (“Party on Apocalypse”), and rarely has the band sounded so inspired (“Barbed Wire”). Makes Me Sick is the reason that after 20 years, New Found Glory are still as important as they were when they helped found the modern pop punk scene. – Kyle Schultz

14. Eisley – I’m Only Dreaming

The spirit of Eisley moves onward on I’m Only Dreaming, even in the absence of DuPree sisters Stacy and Chauntelle. In their stead, Sherri DuPree-Bemis carries the vocal load across an array of tracks that harken to the ambiguity and innocence of Room Noises. At once melodically gorgeous and sonically curious, I’m Only Dreaming offers the dream-like soundscape that put Eisley on the map well over a decade ago. DuPree-Bemis floats above her cousin Garron’s shoegaze guitar licks that range from grungier affairs “Louder Than a Lion” to indie pop numbers that stand as some of the band’s best work to date “Always Wrong”. – Kiel Hauck

13. The Early November – Fifteen Years

It’s hard to imagine an acoustic ‘best of’ album being one of the best of the year, but Ace Enders has always defied expectation. Fifteen Years not only finds a way to hit all of the band’s best songs, but in many ways, it surpasses the originals. Enders has always impressed with his acoustic songs, but the stripped-down versions of some of their biggest hits allows his vocals to truly shine like they never have before. What were some of the band’s biggest rock songs (“Decorations”, “In Currents” “Boxing Timelines”) become emotional ballads. It’s apparent that The Early November have spent their career deserving more credit than anyone ever suspected. – KS

12. Palisades – Palisades

Call it a progression, but reinvention works just as well. Palisades’ self-titled release finds the New Jersey post-hardcore act shedding the electronicore leanings they embraced across their first two records. On Palisades, the band finds a new voice within grunge and nu metal elements that serve as the perfect playground for vocalist Louis Miceli Jr. to display his new, commanding delivery. With the absence of party gimmicks, the band is free to cover fresh thematic territory, adding a welcome dose of levity to match their new style. It’s the kind of 180 turn that opens a variety of doors for a band that has a chance to make a splash in the alt rock waters. – KH

11. Neck Deep – The Peace and the Panic

Neck Deep are an endlessly fascinating band. They have managed to harness the best aspects of pop punk and continuously remind us why the genre matters. The guitars are harsh but sway with rich melody that make easycore bands envious. Every song on The Peace and the Panic demands to be sung along to as the band tackles every topic from rebellion against the government (“Don’t Wait”), depression (“The Grand Delusion”), or telling a story of romance (“19 Seventy Sumthin’”). Neck Deep are a shining example of what makes pop punk such a brilliant genre, and they do it with a sound that marches forward as much as it honors the bands of yesteryear. – KS

10. PVRIS – All We Know of Heaven, All We Need of Hell

Shedding any notion of a sophomore slump, PVRIS delivered with their anticipated follow up to White Noise. All We Know of Heaven, All We Need of Hell zeros in on the best parts of the band’s debut and expands on both sonic and thematic levels. Making use of dark synthesizers and deep, grooving basslines, the trio build dread-infused soundscapes that allow Lynn Gunn to explore an array of fears and regrets. Whether she’s powering through anthems like “Heaven” or growling across the chorus of “No Mercy”, Gunn has become one of the most exciting voices in the scene, and PVRIS appears to have the legs to reach the next level. – KH

9. Kesha – Rainbow

To use a most tired cliché, Rainbow is a roller coaster, driving us through the turbulent aftermath of abuse and the will and strength of a survivor. The album is varied and messy, but works beautifully as a therapeutic outlet of the highest order. From the fist-pumping fury of “Woman” to the tear-jerking pleas of “Praying”, Kesha provides a voice for the broken and a song for the redeemed. Amidst tears and laughter Kesha weaves the story of life on the other side and embraces the freedom in letting go. Rainbow is truly the brilliant comeback everyone was rooting for. – KH

8. Lorde – Melodrama

Lorde (Ella Marija Lani Yelich-O’Connor) risked becoming irrelevant by releasing her sophomore album three long years after her debut. “Melodrama”, however, is an absolute masterpiece and refuses to be ignored. This album meets even the highest of expectations that led up to Lorde’s second release. She used the past few years to grow vocally and artistically, and with help from another pop mastermind, Jack Antonoff, Lorde has (once again) completely changed the face of alt-pop. – Nadia Paiva

7. Lucky Boys Confusion – Stormchasers

Coming back from the dead, Lucky Boys Confusion have rarely sounded better. Stormchasers exceeds expectations for a band that hadn’t written a song together for a decade. Biting into the personal tragedies that have plagued the band for the last few years, LBC manage to make some of the most inspired rock songs of their career. “It’s After Midnight” picks up directly off of the sound of their last EP (released in 2006), while “Stormchaser” taps into the sounds of the band’s career to honor fallen band member, Joe Sell.  “Sun In My Eyes” looks towards a brighter future and “Good Luck”, celebrates the band’s past and tells the story of making it as a band. Lucky Boys Confusion is a continuous story of perseverance and honoring a fan base that refuses to quit. – KS

6. Glassjaw – Material Control

Fifteen years have passed since Long Island’s post-hardcore kings released an album, and yet, somehow, Material Control feels like the most Glassjaw record ever put to tape. Material Control is the visceral blend of aggression and melody that put the band on the map nearly two decades ago, yet sounds as fresh as any heavy record released in 2017. The dirty bassline on “Shira” will cause you to break a sweat while Daryl Palumbo’s vocal acrobatics on “Golgotha” will make your jaw drop. Material Control is the kind of relentless record that hard rock desperately needed, and a worthy successor to Worship and Tribute, even if the wait was far too long. – KH

5. Vince Staples – Big Fish Theory

With Big Fish Theory, Vince Staples remains one of the most coy (koi) rappers around (get it?) Across the album’s 12 tracks, Staples wrestles with the fame that has lifted him from his home and threatens to numb him of the pain and struggle that still plagues those around him. Doing it all atop beats that embrace club and house leanings, Staples invites his listeners to dance, even as the themes force you to stop and think. It’s a juxtaposition as profound as the rapper himself, and just another reason why Staples may be one of the most underappreciated artists of our time. – KH

4. AFI – The Blood Album

AFI (The Blood Album) was one of the first records released in 2017 and it is still among the year’s top contenders as the year comes to an end. The Blood Album picks up where the band left things on 2013’s Burials, and pushes forward to make the record one of the best they have ever released. Jade Puget’s dark guitar lines still manage to impress and blaze with the power that other bands require multiple musicians for. Having been the second of three albums that Davey Havok sang for within the span of a year (Blaqk Audio and DREAMCAR), the intensity of his voice is mesmerizing. AFI’s dark pop songs are a masterclass in musicianship. As an amalgamation of everything they have released over the course of a 20+ year career, AFI (The Blood Album) is worthy of being the band’s first self-titled effort, and standing among their best releases. – KS

3. Paramore – After Laughter

Paramore’s long-awaited return came with a release defining some of the most overarching topics plaguing young adults today: mental illness, hopelessness, loneliness, and the idea that we can find the light we’ve lost. Taking a sharp turn from their alternative roots and moving into an ‘80s synth direction, Paramore provided a dose of reality packaged in both fun and reflective ways. We’ve watched Hayley Williams and co. grow up and face some difficult times and, somehow, they’ve always portrayed it gracefully. “After Laughter” is no different. – NP

2. Julien Baker – Turn Out the Lights

On Turn Out the Lights, Julien Baker does more than tug at our heartstrings, she dives deep into the crevices of depression without pulling punches. Whether accompanied by just her guitar or surrounded by organs and strings, Baker’s voice fluctuates from crackling despair to cries of strength, voicing a struggle familiar to many. What makes Baker’s songs so meaningful is her painful honesty – there is no sugarcoating – and when she searches for hope, she does so with every fiber of her being. At the end of the journey, her powerful final cry of ,“I wanted to stay”, is enough to shake any listener to the core. – KH

1. Kendrick Lamar – DAMN.

How do you follow up one of the most heralded and important hip hop releases in recent memory? Like this, apparently. Whereas To Pimp a Butterfly stretched outward into the systematic oppressions of our society, DAMN. worms its way into Kendrick Lamar’s psyche, revealing the inner workings of one of the most important artistic voices of our time. Oscillating between “Pride” and “Humble”, “Love” and “Lust”, “Fear” and “God”, Kendrick fights for truth and hope amidst brokenness.

From the rumbling bassline of “DNA” to the throwback samples and drums of “Duckworth”, Kendrick paints a canvas that opens new possibilities for his own rhyme schemes and vocal delivery. At once timeless and fresh, DAMN. is the new bench mark for modern hip hop. There is little room left for debate: Kendrick Lamar is the best rapper alive. – KH

Honorable Mention

Bleachers – Gone Now
Halsey – Hopeless Fountain Kingdom
Jay-Z – 4:44
Tigers Jaw – Spin
Tyler, The Creator – Flower Boy

Posted by Kiel Hauck

10 Halloween Songs to Bump in the Night

The-Devil-Wears-Prada-zombie

October is in full swing, and soon, we’ll all be clad in our favorite costumes, celebrating the spookiest of holidays. To get you ready for your next Halloween bash, we’ve put together a monstrous list of the most terrifying pop punk and post-hardcore songs to ever walk the earth.

Throughout the years, several bands from the scene have taken the opportunity to tell chilling tales set to the sounds of squealing guitars and drum fills. We think it all makes for the perfect brew – a frightening soundtrack of Halloween terror. So go ahead and listen, if you dare. These songs are so good, it’s scary.

Showbread – “Dead By Dawn”

What better way to indulge in Halloween revelry than with a screamo portrayal of “Evil Dead 2?” Showbread, forever a band with a flair for the dramatic (and a love of horror movies), unleashes a terrifying tale of the Book of the Dead and the subsequent mayhem that ensues.

Sleeping with Sirens – “Dead Walker Texas Ranger”

Sleeping with Sirens made their entry into the post-hardcore Halloween canon with a song inspired by “The Walking Dead.” Here, the band advises us to run for our lives and “Watch as your greatest fears return to life.” Look out! They’re right behind you!

The Devil Wears Prada – “Outnumbered”

Speaking of the undead, The Devil Wears Prada have something to say with their five-song Zombie EP. On “Outnumbered”, the band depict a fallen world overrun with the living dead, backlit by brutal breakdowns. If the frightening tale won’t crush you, the music will.

Panic! at the Disco – “This is Halloween”

Want something a touch more light-hearted? Brendan Urie and co. are here with a rendition from everyone’s favorite Tim Burton tale. Panic! capture the mischief and magic of Jack Skellington on this frightfully fun track.

He Is Legend – “Attack of the Dungeon Witch”

Another band with a knack for scary stories, He Is Legend tell the tale of a violently vile antagonist that appears to cast a spell of charm. “I drank with the dungeon witch / Left my ring on her night stand / I woke with the dungeon witch / Now she’s got the upper hand”.

My Chemical Romance – “Vampires Will Never Hurt You”

For a band that made a living off of dark stories of revenge and death, it’s hard to pick just one song by My Chemical Romance that fits the Halloween mold. Before he shouted Three Cheers for Sweet Revenge or marched along with The Black Parade, Gerard Way sang of the allure of bloodsucking monsters.

The Maine – “Forever Halloween”

With Forever Halloween, The Maine took a lighter approach to the spooky holiday season. On the album’s title track, we’re told that the bumps in the night are nothing to be afraid of: “And darling, don’t you start to scream / It doesn’t mean anything / It’s just make believe”.

AFI – “Halloween”

The Misfits were certainly a band custom made for Halloween and AFI beautifully encapsulates that spirit on their cover of “Halloween”. Another band that knows their way around the darkness, AFI rip through this track for their All Hallow’s EP as Davey Havok sounds like a man on fire.

Fall Out Boy – “What’s This?”

You could argue “What’s This?” as more of a Christmas song, but its inclusion as a vital piece of “The Nightmare Before Christmas” soundtrack makes it eligible for this list. Plus, who could resist the sounds of Patrick Stump crooning, “Instead of screams, I swear / I can hear music in the air”.

Showbread – “George Romero Will Be at Our Wedding”

Our list wouldn’t be complete without one more song from Showbread as they pay homage to horror genius George Romero. Here, Josh Dies sings from the perspective of a man-turned zombie in search of his love. “If true love lasts forever, then love doesn’t die / It just becomes the living dead”. How romantic!

BONUS! Kanye West – “Monster”

What’s scarier than “Sasquatch, Godzilla, King Kong, Loch Ness”? How about a dark track in which ‘Ye, Jay-Z and Nicki Minaj all embrace their inner monster? In fact, if Nicki’s blood-curdling shriek at the end of her manic verse doesn’t send chills down your spine, you may want to literally check your pulse.

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.

Podcast: The Best Music of Autumn

Another fall season is upon us, which means it’s time to break out the hoodies, crack open a few Oktoberfest beers, and enjoy some of our favorite autumn music. On our latest podcast episode, Kiel and Kyle chat about the favorite albums to spin when fall rolls around and why they’re so nostalgic for the season. They also discuss what makes for a great autumn album and share some of their favorite seasonal activities. Bands included in the conversation include: Mayday Parade, The Early November, Anberlin, AFI and more!

Subscribe to our podcast here.

What is your favorite album to listen to in autumn? Share in the replies!

Posted by Kiel Hauck

Most Anticipated of 2017: #2 AFI’s Resurgence

afi-2017

This may be the busiest year AFI have ever had as a band. Notorious for long delays between albums, there are hints of three possible releases related to the band on the way. Their 10 album, AFI (The Blood Album) is coming out in just a couple of weeks, preceded by two very strong singles and a national tour following not long after. While AFI’s discography is phenomenally strong, the singles indicate one of their best endeavors in several years.

If that weren’t enough, there are at least two side projects on the way: Blaqk Audio have recently announced that there are over 40 songs demoed for their fourth album. Considering that Material released less than a year ago, it seems like Davy Havok and Jade Puget are still riding that wave of creativity to make good on their promise of trying to get new Blaqk Audio releases out quicker.

Additionally, DREAMCAR, the super group of the No Doubt band with Davy Havok on vocals are set to release their debut album this year. There’s no indication of what their collaboration will sound like, but I know enough about Davy Havok to know he wouldn’t be a part of a project he didn’t believe he could make magic happen with. While I don’t know that much about No Doubt personally, people sure seem to like them.

Either way, the prospects of more than one project from a group of artists known to taking their time is something in and of itself to be excited for.

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 yells at the rain on occasion. He also wants to play you in FIFA.

Most Anticipated of 2016: #6 AFI Reignite the Fire

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The Sorrow is Sacred

It’s been a tradition for the better part of a decade and a half that AFI releases a new album every three years. The only album to buck this trend was Burials, arriving four years after Crash Love. With their last release arriving in the fall of 2013, the band’s new project should be either done or nearing completion by the end of the year.

AFI’s releases are relentlessly ambitious and each record unique. It defines a certain part of the band’s career. And their fans are ravenous for anything new. AFI have tread ground through goth metal, hardcore, rock and the biggest ‘fuck you’ to pop music ever created with Crash Love. Trying to predict what comes next is near impossible, which is just part of the band’s charm.

If nothing else, the band hasn’t been on a proper tour since 2014. Even if the album itself doesn’t quite fit into 2016, the band should be gearing up in the fall to start a wave of shows across the country in some form or another. AFI is one of the best live bands anyone can get a chance to see. Jade Puget’s guitar work is next to godly on stage, and Davy Havok’s ability to switch between one of the best singers in the scene to one of the best screamers is breathtaking.

With a new Blaqk Audio album finished and ready for release, Havok and Puget are free to focus on their main project. There’s no telling what their new album will sound like, but it will be a reinvention and reinvigoration, guaranteed to have fans combing the songs lyric by lyric until 2019.

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 chased AFI to half a dozen different cities on the Crash Love tour. Ugh, obsessive fanboys, amiright?

Review: XTRMST – XTRMST

xtrmst1
Three seconds after the song “Conformist” ended, my friend in the backseat felt the immediate need to defend himself. The line “Inhale, Hold it in. Inhale, hold it in / Let the deterioration begin” hit him hard as he held an e-cigarette. “I don’t smoke to be cool,” he said sadly before trailing off with, “I just…” and the conversation ended there.

Davy Havok and Jade Puget have touched every musical genre available to them, from punk rock, to metal, to electronica and arguably pop punk. But XTRMST is something else entirely. It’s an album that will make the listener as uncomfortable listening as they are bobbing their heads. It’s possibly the only band I can think of that not only attacks the listener, but challenges them directly on their lifestyle choices.

XTRMST is a straight-edge (no alcohol, no drugs, no meaningless sex) hardcore band. It sounds simple, but it’s a complex union that is without a doubt the most controversial album the Havok/Puget collaborations have released. On the one hand, it’s more in line with what fans of older AFI have been clamoring for: an extraordinarily dark album in line with Black Sails and Sing The Sorrow. On the other, there is little of Puget’s hypnotic guitar melodies, or Davy’s poetic rage. This is a record that aims directly for the face, ruthlessly attacking for thirty-one minutes.

XTRMST is designed from the ground up to cause a reaction, so much so that even the most diehard fans of the duo may have difficulty enjoying it. Musically, the album is a violent vortex of hard power chords and dark melody cut with rough breakdowns and twistedly haunted squeals (“Words For the Unwanted”).

Jade’s guitar work is either the most technical of his career or the most sloppy depending on who is listening. There is little of the melody and precision that his work in AFI is known for, replaced instead with deep and dark searing riffs that sweep the album. His musicianship straddles the line between perfection (“Swallow Your God”) and amateurism so much so that it sometimes borders on ‘noise rock’. “Merciless” is one of the most melodic songs on the record, jumping between Chiodos-esque guitar riffs to a chorus that plays a counterbalance to Havok’s building vocals.

While the drums and bass are appropriate, they aren’t quite up to par for what one would expect of Puget. However, the distinct sound of the album allows for the instruments to work. The bass keeps pace with the guitar work, and often finds its way to the forefront, but the drumming sounds like an amateur punk band turning hardcore. The beats are simple and sharp, combining with crashing cymbals before giving way to savagely fast attacks. It definitely does the job, but it might be the weakest aspect of the album.

While the music is almost inaccessible to anyone not into this subgenre, the lyrical themes are even more vicious. Davy Havok is relentless in his attacks on concepts taken for granted within pop music. There is no hiding behind poetic verse or imagery; he’s blunt and angry. Each song is an aggressive question about the listener’s lifestyle choices and way of life. Mixed with the piercing screams (the hardest he’s ever screamed, by the way), it’s almost uncomfortable to listen to.

Any fan of AFI knows of Davy and Jade’s straight-edge lifestyle, and for all of the dark lyricism in AFI’s 20 year career, this is the most vicious. Opening track, “Words For The Unwated” starts with Davy attacking faux straight-edge lifestyles, as he screams, “You’re not one of us, don’t speak of us… You never used to be, if not now you never were / Yet you marched with the pure and still besmear our name / No, you will never be true to anything”.

“Conformist”, the album’s lead single, more or less calls out the punk culture in general of being a machine of conformity, pointing to straight-edge as a true subculture to be looked up to. In direct opposition to most of the album, the first few lines are delivered in cynical spoken word; “Oh you’re so wild / You think you’re so wild but your counter culture falls straight in line”. Havok jumps straight into throat shredding screams of, “You want resistance? Then look to mine”.

In true Davy Havok fashion, he can’t let the opportunity to attack religion go to waste. “Swallow Your God” might be his most brutal attack since Crash Love’s “Sacrilege”. As Jade ravages through the most traditional guitar riffs on the record and thunderous drums, Havok relates religion to drug use as he screams, “I will destroy the King of Kings / I will never swallow your God / Until you bring your eyes down to the Earth you cannot claim this sight / Your faith is a disease, another poison I deny / I deny the high of Heaven”.

XTRMST is a remarkable album. It’s at once the answer and the worst enemy to those annoying fans who have been ranting for a dark album since Sing The Sorrow. While fans of Havok and Puget are sure to enjoy the album, there is no denying that it will force you to start mentally defending yourself to some degree. This album will mean something different to most anyone who listens to it, either satisfying the hardcore fans or making casual fans uncomfortable. Regardless, Havok and Puget have constructed a masterpiece of rage and defiance.

4/5

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 during AFI’s Crash Love tour, followed them across the Midwest to a half-dozen shows like a creep. At a show in Indianapolis, Jade Puget winked at him and tossed him a guitar pick. His girlfriend was jealous.

No one in the sky: The ideology of Fireworks

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Fireworks may just be the most underrated band in the scene. Not a whole lot is said about them, but they tour relentlessly. Two years ago, fresh off the heels of their amazing album Gospel (the only album able to go toe to toe with The Wonder Years Suburbia, I’ve Given You All and Now I’m Nothing), I saw them play the smallest stage on Warped Tour.

They’re a relentless band that is at a constant battle within: Don’t rely on religion to be the best you can be; you’re capable of being great.

Fireworks are one of the most positive bands writing today and one of the forefathers of the new generation of pop punk; matured lyrics, incredibly catchy melodies and loud guitars. They’re not afraid of quieter music as well, playing as much of the New Found Glory-esque spastic punk as they do the quiet shade of Saves the Day. It’s a beautiful sound that can either rip through your speakers or act as the soundtrack of the evening darkness.

One of their most powerful assets though, is their presentation. Lyrically, they’re nostalgic, mystical and relentlessly optimistic. The self-awareness of their records is something that most of their peers lack, and draws up battle lines within their records.

As much of a force for positive thinking as they can be, there is an adamant war cry against fundamental religion in their music. Anti-religious music isn’t anything new by any means; AFI is known for it. The difference with Fireworks is that they aren’t writing angrily. They’re fighting to show that you don’t need to rely on religion to be guided into being a good person.

“I Locked My Time Capsule” has one of the most memorable choruses that illustrates what the band tries to preach: “Just do what you can to do what you love / And be mindful when someone out there gives a shit / I don’t know where I’m going, but it’s where I want to be”.

The optimism of making yourself happy is often at the forefront of their lyrics, but what’s interesting is that it’s constantly emphasized that you’re capable of it. There are hidden sniper shots at religion throughout their records, attempting to tear away reliance on a higher being to do the work for you. In the same song, singer David Mackinder shouts, “My nativity scene would be the people shaking this floor”.

It’s a unique route to relate the positive messages found in pop punk these days. While the overall tone is usually for good, if not looking back on memories, good and bad, the mention of religion is usually a short jab. The song “I Support Same Sex Marriage” is perhaps one of the most damning, the title intended to cause the first strike.

Lines like “When you spend all your time with your eyes to the sky, you end up looking down your nose just to look me in the eye”, and “When you open that book you close your mind, so trust yourself and no one else” are incredibly self-aware for being on a band’s debut LP. But even this early on in their career, their message is clear.

Despite the intended venom towards this type of ideology, the band maintains the positive thinking needed to live successfully, rather than rely on religion. Oh, Common Life is a brutal look at finding yourself as an adult and the harsh world you were never quite ready for; finding yourself on the other side of a parents’ death and lost loves married to someone else.

Amongst the depressing imagery though, there are lines like, “I’m the greatest book read to the end / In those last lines you’ll find my friends like flies on tape, I keep them close / We may look dead but move our soul” from “Run, Brother, Run”.

Fireworks helped forge the new wave of pop punk with the brutal honesty that comes with picking fights with ideology. It’s an edge that stands apart from bands that just write angry punk songs against religion, in that it’s meant to unapologetically encourage anyone listening. It’s a powerful idea that doesn’t get the credit it deserves. Regardless of your beliefs, Fireworks message is something that is needed more in the scene.

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 yells at the rain on occasion. He also wants to play you in FIFA.