In Defense of Anniversary Tribute Albums

In the last few years, there has been a flood of “reimagined” versions of classic albums and songs. Some might see this as a waste, since it’s not technically new material. But in recent years, the ante has been upped in many ways beyond a basic acoustic cover. Acoustic versions of songs are always a welcome addition to a band’s catalog, but complete re-recordings offer a chance to reevaluate the journey, and analyze not only why the album meant so much in the first place, but also how the listeners and the bands have matured in the years between.

The Wonder Years were the first band to really catch my attention with reimagined versions of their songs. Burst & Decay Vol. I slowed down tempos, revitalized the lyrics of songs like “Don’t Let Me Cave In” to be conversational and somber reflections. “Cardinals”, a song already heavy in terms of regrets over a failed friendship, becomes even more burdensome when every single lyric has time to resonate. Though the reimagined versions of songs never quite match the scale or eccentric hype of the original, the new attention serves as a reminder for why these songs resonated so well with fans.

All Time Low’s It’s Still Nothing Personal tribute album may be the best example of a re-recorded release. Nothing Personal helped cement All Time Low as a permanent fixture in the scene. In the decade since, their sound has morphed to the point that it’s hard to see them as the motley crew standing on the stage of the “Weightless” music video in a small club anymore. This updated version of Nothing Personal hardly surpasses the original, but it shows listeners just how starkly the band has grown since then. 

Singer Alex Gaskarth’s voice is much more rich and mature, compared to the autotuned vocals of the original release. The guitars are more relaxed, and the production tighter. The addition of harsh vocals during “Lost In Stereo” changes the dynamic of the song when compared to the poppier lyrics. It’s also a stark reminder of the chances the band are willing to take that never would have appeared on earlier albums. The addition is minimal, but it’s a curve that makes the song instantly different, especially when paired with the vocal twists of Gaskarth. Even the closing track “Therapy” benefits from the restraint of the full band.

We the Kings’ Self Titled Nostalgia does the same by removing the guitars entirely and rewriting every song as a piano-driven, semi-electronica experiment. Though the original songs were seminal pop songs of their era, these reworked versions sound less like emo-pop songs and more like the soothing anthems of romance that they were always meant to be. 

In contrast, Asian Kung-Fu Generation’s Sol-fa 2016 is strikingly similar to the Sol-fa album released in 2004. AKFG, one of Japan’s most famous rock bands, are well known in the States for “Rewrite,” one of the opening songs to the original “Fullmetal Alchemist” anime. The version on 2016’s release features singer Masafumi Gotoh’s with slightly more matured vocals, and the instrumentation tighter and closer to the sound the band plays during live shows. “Re:Re:” includes a new instrumental opening that vastly improves the song, as live show performances had proven for over a decade. 

These types of anniversary albums feel different from other reworked albums, such as Eisley’s I’m Only Dreaming and I’m Only Dreaming… Of Days Long Past. Part of this is due to both albums being released so close together. A decade between re-workings gives space to appreciate the alternate versions of songs, whereas these albums feel more akin to two halves of the same piece. 

This is the case as well for Dashboard Confessional’s Alter The Ending, which released a full band and acoustic album together. These types of albums are extremely welcome, and gives the artist the opportunity to stretch and not feel restrained when the sound they hear is so much wider than a single song. However, it still doesn’t hold the same affection to something like Yellowcard’s Ocean Avenue Acoustic, which was in part a celebration of the band’s reformation.

It’s hard to say that any band has fully found the best way to honor a fan-favorite album, but re-recording them with 10 extra years of experience, insight and creativity is something that more bands should embrace. It’s a way to show appreciation to the fans that have stuck around for so long. It also allows bands the opportunity to show how much they’ve grown when tasked to rewrite the songs they created as kids.

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 doesn’t understand why the birds won’t come to his window to say hello. It’s just a new birdhouse! There’s still seed, so why won’t this HOARDE OF SPARROWS lay siege to the windows once more?! Cowardly birds!

Review: All Time Low – Wake Up, Sunshine

All Time Low are one of the few bands who have never seemed to lose steam. Though some of the more recent albums never quite lived up the magic of their original few, the release of new music from All Time Low has always felt like an event. Fortunately, Wake Up, Sunshine is an event. At the time of writing this, most of the world is in some form of lockdown from the COVID-19 virus, and it feels like the world itself is collapsing. Wake Up, Sunshine is not just a summer album, it is a spark of hope in the darkness that promises the best is yet to come by looking back on the past.

You can buy or stream Wake Up, Sunshine on Apple Music.

While many of the group’s recent albums experimented and leaned heavier into pop sensibilities, the results were often mixed. Where Wake Up, Sunshine succeeds is in marrying the punk buzz of Nothing Personal with the pop ambitions of Last Young Renegade. The guitars are heavier, the pop more polished and intelligently implemented, and anthemic choruses abound that rank among All Time Low’s best.

In many ways, this album feels like a sister album to Nothing Personal. Where that album was a battle anthem of youth looking towards the future, Wake Up, Sunshine looks back on that time of life through a mature lens. Instead of free-loving anthems like “Damned If I Do Ya (Damned If I Don’t)”, songs like “Trouble Is” reflect on the deep connection and curse of love. Instead of declaring that this will be the year that they make it (“Weightless”), the band asks their audience if this music is still what they want to hear (“Some Kind of Disaster”).

Where the two albums definitely overlap is in their sense of sexiness, romance, swagger, and the instantly memorable choruses and hooks. 

More than any of their past work, Wake Up, Sunshine reflects on being thankful for making it so far. “Some Kind of Disaster” sets the theme for the record, essentially prepping the audience to go on the journey of connecting over an album again with stadium-rock guitars and rippling bass (“And it’s all my fault that I’m still the one you want. / So what are you after? / Some kind of disaster”). 

Other songs allude to the band’s growth in small ways. “Clumsy”, with glam guitar sizzling over a dance rhythm, addresses the realization of the band being too full of themselves in the past, with vocalist Gaskarth singing, “I got too high on myself / Too young and stupid to tell / I was bound to make a mess of things / Mixing fireworks and gasoline / Now I’m out to make you fall with me”. Meanwhile, “Basement Noise” softly reflects on memories of starting out as kids practicing in drummer Rian’s basement (“Cut our teeth chasing the weekend  / Capsize and fall in the deep end”).

Other topics are tackled to certain degrees as well. Title track “Wake Up, Sunshine” weaves a narrative of loving yourself against taking a stand against the internet echo chambers that many people find themselves lost in. “Everybody wants to be somebody / I just want you to see how good you are / You don’t have to lean on the crutch of a daydream / To see that you shine like a star.” 

And as always, there are the songs of romance. “Sleeping In”, arguably All Time Low’s best single since “Weightless”, is a passionate love song (“If I said ‘I want your body’, would you hold it against me?”) that builds itself up with verses filled with dance beats and choruses made for mosh pits. “Favorite Place”, a call and return of romance with The Band CAMINO, features a beautiful sparkling instrumentation and haunted backing vocals (“It’s the distance we don’t need / Yeah, you’re everything I love about the things I hate in me”). 

Meanwhile, although “January Gloom (Seasons, Pt. 1)” and “Summer Daze (Seasons, Pt. 2)” would otherwise sound like low points on an album this rich,  they take on more meaning in this time when people around the world are locked in their homes. “January Gloom” resonates so much with seasonal depression disorder at this time, when it’s just starting to get warm but we can’t go outside. Meanwhile, “Summer Daze” plays with dreamy lyrics of summer romance and teasing of just how wonderful it will be to get outside again (“Serendipity and summer showers / We soak it up like flowers / Growing through the concrete”).

Wake Up, Sunshine is one of the strongest albums of All Time Low’s career. It carves its own path by reflecting on the pop punk scene that raised the band, and leaning into the pop scene that has expanded their career in remarkable ways. It may get bonus points just for being something positive in a time of national crisis, but in the end, All Time Low’s best music has always been about the promise of looking forward. Wake Up, Sunshine is the right album released at the right time to help those that listen march through this crisis and feel hopeful on the other side.

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 just fed his cat an unreasonable amount of chicken. A few bits would have been fine, but this was best described as “a chunk”. That little creep shouldn’t be able to fit that much in a stomach that physically small. The obvious answer then, is that cats are monsters and where internal organs should be, there is only…. the void. SCIENCE!

Reflecting On: Set Your Goals – This Will Be the Death of Us

I almost lost my middle finger in 2009. I’m not entirely sure how it happened, but while working in a restaurant, I was playing with a keyring during some downtime. Somehow, I slipped my finger through the gap between both endpoints. I remember watching the tip of my finger fall backwards and seeing the bone. It exposed everything I am on the inside for the first time. I managed to keep it together long enough to get stitches. When I went home to my roommates, they had gathered in camaraderie and collectively flipped me off in unison, which helped a little bit.

I had been obsessed with All Time Low’s Nothing Personal for the summer, but I hated myself for being so reckless as to get injured midway through the season. While my friends were out swimming, exploring the local creek, or engaging in some type of sports I was dutifully guarding my finger from infection. I was angry, isolated and days away from my birthday.

You can buy or stream This Will Be the Death of Us on Apple Music.

At some point, All Time Low posted on their social media to support their friends Set Your Goals’ new album. I had never heard of the band, but decided to spend what little money I had to keep me occupied since I wasn’t spending my time being active. All Time Low remain one of my favorite bands, but Set Your Goals stole the year with This Will Be the Death of Us, one of the single best releases of the early 2000’s.

Set Your Goals was my introduction to ‘easycore.’ Hovering somewhere between pop punk and hardcore, This Will Be the Death of Us scratched every itch I had. It even inspired a song by Four Year Strong as a response to the glowing reviews the album received. Set Your Goals tempered the anger I felt towards myself, managed to be an ethical voice in the scene, and felt like one of the opening salvos in the new trend of positive punk. It exposed me to the deficiencies I didn’t realize I had inside.

The rage in This Will Be the Death of Us isn’t focused on the usual suspects in the scene. While the album maintains a positive outlook overall, it is relentless in its attacks on aging bitterly and of neglect towards love of the world and its history (“Our Ethos: A Legacy to Pass On”). It managed to successfully criticize societal issues without sounding like a bunch of privileged kids whining (“Look Closer”). During my last year of college, the global recession was going strong. Hearing a band call the system out for what it was meant the world to me. The album also featured the best cameos of all time (Vinnie Caruana, Hayley Williams, Chad Gilbert and Jon Gula). The guest vocalists played a significant part of their songs, even the music videos (“This Will Be the Death of Us”).

Despite the worldly rage, positivity oozed from this album. At the time, there weren’t a lot of new bands making a splash in the scene, and those that did fell back on the tried-and-true lyricism of failed relationships. Set Your Goals introduced me to songs like “Summer Jam”, which gushed with memories of the band on a year-by-year basis leading up to this release. “Summer Jam” was the first time I had heard of the band Fireworks, and the lyric, “We’re all in a holding cell, but somehow Baloni got away,” led me on a goose chase to learn more about their merch guy. A year later, The Wonder Years would go deeper into this area and change the game of ‘realistic pop punk’ on The Upsides.

Most importantly though, I felt like I gained a worldview from Set Your Goals. While All Time Low got me hooked on catchy lyrics that I still know to this day, Set Your Goals turned the chaos of hardcore punk on its head that sent a message to question the status quo of the world, even if you loved it. It’s the first time that my rebellious college phase realized that you could love the world and fight to break it at the same time.

This Will Be the Death of Us helped me through the summer of 2009 on a daily basis while I sat inside watching my friends play video games and get dirty. I remained low key until the autumn, hiding from anything that could make my finger worse. But I loved the world despite its follies along the way, for better or for worse, during the healing.

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 heavily relates to Jasper from The Simpsons.

Review: State Champs – Living Proof

The worst thing about Living Proof, the new album from State Champs, is that it was written in 2018 and not 2004. This is an album that is full-blown pop punk in every way, wearing the genre proudly on its sleeve. Every single song is a potential single, expertly crafted to play on repeat in your head, even when you’re not listening to them.

Had this been released last decade, this is an album that could compete for the fame of Sum 41 or early Fall Out Boy. However, in 2018, it struggles to find an identity of its own. Instead, the album feels like an amalgamation of the best parts of every pop punk band in the last two decades combined to create one super album primed to dominate your summer.

You can buy Living Proof on Apple Music.

I’m not terribly familiar with State Champs, but after my first playthrough of Living Proof, I immediately went back to listen to their earlier albums. I’m in love with the band, and won’t be making the mistake of sitting on them again. Living Proof is one those rare albums designed to be a hit. Every song is radio ready and hypnotically enchanting. The production is crystal clear and does its best to propel the energy of the music.

Guitarists Tyler Szalkowski and Tony Diaz are a perfect duo, wrapping melody and sharp power chords in smart ways. There is a massive amount of pop on this album, but the energy and mayhem behind it is gorgeous and rests somewhere between the punk aesthetic of New Found Glory (“Criminal”) and the pop of All Time Low (“Safe Haven”). Bassist Ryan Graham is thankfully turned up to be heard clearly in every song and adds a noticeable backbone that other bands could only hope for (“Cut Through the Static”). Drummer Evan Ambrosio may be the hidden MVP of the album, as his wall of percussion constantly stole my attention at odd times with thunderous beats (“Mine Is Gold”). Vocalist Derek DiSanio pushes himself to great lengths throughout the record. He finds a great balance between crisp notes and letting his voice struggle to hit the high notes, adding an urgency and envious power.

The best and worst feature of Living Proof is that it is so enamored in pop punk that it fails to carve it’s own path. In fact, comparing the album to All Time Low circa 2010 is almost impossible not to do. The record sounds like a b-side collection of singles ATL forgot to release. This problem could be remedied if the songs had more substance to them, but each line is forged from classic pop punk archetypes. Vague lines about relationships permeate throughout.

The nice thing is that the lyrics fit perfectly together and make you want to shout them as loud as you can. However, there is no weight behind them, such as “Safe Haven” as DiSanio sings, “Congratulations, I’m a wreck again / Messed around, feeling down, thought it was all pretend / I’m realizing I’ve got time to kill so / give me a remedy to lift me up / Until it all falls back just like you said”. There are vague ideas of hope, such as when he sings, “And I feel when you’re looking at me / that you’re far from happy / If only we could wait for the truth / When you know it’s not so dramatic / Let’s cut through the static and be the living, the living proof”.

Living Proof is an album that will absolutely enchant half of its listeners and possibly turn off others hoping for something more than pop punk basics. But that shouldn’t take anything away from what State Champs have accomplished­ – a masterful pop punk album that relishes in every aspect of the genre. This album will potentially dominate the summer season and could potentially revive mainstream interest in the genre if it received the attention it deserves. After this album, I simply can’t wait to see them live at the first possible opportunity.

3.5/5

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 accidentally splattered a girl with gym sweat as she fled from a spider hanging on its web today. Not his fault, but no one was happy about the encounter. Especially the spider. It was crushed by a train and mocked mercilessly by a crowd.

10 Classic Music Videos Turning 10 in 2017

There are two kinds of memorable music videos: Those that stand the test of time as artistic genius that defined an era (think Nirvana’s “Smells Like Teen Spirit”) and those that serve as stark reminders that times change quickly and mercilessly (think Britney Spears’ “…Baby One More Time”).

However, even if your favorite band’s best music video feels a little goofy in hindsight, there’s still pleasure in chuckling with nostalgia. We’ve taken a look back at some of the most memorable music videos from 2007, each with their own quirks and flashes of brilliance. Enjoy!

Paramore – “Misery Business”

There’s an argument to be made for “Misery Business” as not only the defining music video of 2007, but maybe the scene as a whole. Who can forget the Riot!-covered set inspired by the album cover, Hayley Williams’ fire-orange hair whipping about, and the band’s over-the-top head-banging performance? The video served as the grand introduction for Paramore to the general public, and proved to the rest of us that this band had what it would take to take over the rock world.

The Academy Is – “We’ve Got a Big Mess on Our Hands”

“We’ve Got a Big Mess” is one of my favorite music videos of all time. A heart-breaking story of an artist’s internal battle, the video goes from amusing to agonizing in its final moments, as William Beckett goes to war against himself. And who can forget the Pete Wentz cameo that serves as a conceptual bridge to Fall Out Boy’s “Thnks fr th Mmrs” video? Admit it, you wanted to be a part of the Fueled By Ramen Friends Club in 2007.

Fall Out Boy – “This Ain’t a Scene, It’s an Arms Race”

Speaking of Fall Out Boy, it’s hard to pick just one video from Infinity on High to make this list, but “This Ain’t a Scene” has to be the clear winner. Full of call-backs to past Fall Out Boy videos and littered with humorous references to the members’ various exploits, this clip is a perfect example of Fall Out Boy’s unparalleled self-awareness and serves as the perfect video for one of the best singles of the year.

The Almost – “Say This Sooner”

By 2007, Underoath had become one of the biggest rock bands around, which probably made it the perfect time for drummer/vocalist Aaron Gillespie to branch out with this solo project, The Almost. His first video finds him traveling time and dimensions as he gets the chance to walk in various strangers’ shoes. We’re still not sure how he managed to get back to his own body, but the video is a fun ride nonetheless.

Mayday Parade – “Jamie All Over”

The biggest problem facing Mayday Parade music videos in 2007 was the absence of Jason Lancaster, who left the band before the release of A Lesson in Romantics. In the band’s videos, various members take over mock-singing duties, with Jeremy Lenzo drawing the straw for “Jamie All Over”. It’s hard not to wonder if their Vegas gambling rollercoaster concept inspired Katy Perry’s almost identical “Waking Up in Vegas” video. Has anyone ever investigated this?

The Devil Wears Prada – “Hey John, What’s Your Name Again?”

Plagues became the coming out party for metalcore stars The Devil Wears Prada, and it all started with their video for “Hey John”. The clip explores a young boy’s regret and redemption, but also gives us our first glimpse of the band’s incredible energy, driven by vocalist Mike Hranica. By the end of the video, Hranica appears exhausted from the performance – either that or he’s really relieved that bird didn’t actually die.

All Time Low – “Dear Maria, Count Me In”

Remember when All Time Low were just a bunch of bratty pop punk kids with bad haircuts singing about strippers? If not, the video for “Dear Maria” should jog your memory. One thing’s for certain about 2007 All Time Low – they loved dressing up in costumes in their videos. Or maybe they just couldn’t afford more than one extra for each shoot. Whatever the case, this song still features one of the best choruses of all time.

We the Kings – “Check Yes, Juliet”

While we’re on the topic of chorus heavy pop punk, We the Kings made their way onto the stage in 200y with “Check Yes, Juliet” – a single that still happens to be the band’s most popular song (for good reason). The video re-hashes an oft-used Romeo and Juliet storyline and is hella cheesy but…wait, is this video actually good? Too late. It’s on the list.

MxPx – “Shut it Down”

2007 turned out to be a year of revival for pop punk legends MxPx as they returned home to Tooth and Nail Records. In hindsight, this song sounds a lot like your dad giving you a hard time for staring at your cell phone, but it’s pretty fun to watch these guys smash a variety of electronics with baseball bats. Oh, and that close up shot of Mike Herrera’s “PUNK RAWK” knuckle tattoos is kinda perfect.

Kanye West – “Stronger”

The plot of this video essentially consists of the members of Daft Punk engineering a new and improved Kanye, which is a little scary, but also exciting. The video for “Stronger” also introduces us to the visor shades that became his ironic calling card for a few years, so that’s pretty good. If you’re still asking why this video made the list, it’s because the song is incredible and the video is so tacky and absurd that it’s hard not to laugh while you dance. So there.

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.

Review: As It Is – Okay.

as-it-is-2016

As It Is is a band that caught me out of absolutely nowhere – I loved their debut album an obscene amount. Their sophomore effort, Okay. is sure to be at least partially divisive – on my first listen, my first thought was “what an appropriate title.” However, after a couple of listens and delving deeper into the lyrics, there is a true sadness and battle with oneself that permeates through the indulgently poppy guitars that is genuinely great.

You can buy okay. on iTunes.

You can buy okay. on iTunes.

Okay. highlights the struggles of battling with yourself and the world around you, attempting to take it in stride even though things may seem progressively worse and there may not be a solution in the foreseeable future. Perhaps the most poignant lyric on the album in regards to this is on the title track, when vocalist Patty Walters whispers, “So keep your ‘It’ll get better’s’ and I’ll keep my ‘I’ll be just fine’s'”.

For a sophomore effort, Okay. sounds great. The rhythm guitar is hard and melodic, while the lead finds incredibly catchy hooks that lead into the song and carry it through each chorus. Drummer Patrick Foley truly captured my attention multiple times, finding the perfect balance between anarchic punk and somber (“Austen”). The album is seeping with melody.

Behind the pop though, lie some heavy subjects, namely the feeling of depression and making attempts to come to terms with it even though there isn’t a way out. Opening track “Pretty Little Distance” hides the thesis behind the glam pop, but where the message shines the brightest is a trilogy of songs that reference it directly, “Okay”, “No Way Out” and “Until I Return”. The songs are true pop punk gems that cultivate the sentiment of admitting there’s a problem (“A perfect stranger, she puts pen to paper, consoling in her sleep / And how foreign it felt when I opened my mouth / And heard the truth come out”) and the futile issue to overcome.

“No Way Out” is a rager of a song, circling the idea of feeling trapped in the same problem in your own head. However, it features a moment of what seems like true vulnerability, featuring Walters in the bridge speaking plainly about the depths of his problems before screaming in defiance and frustration.

Although “Until I Return” allows the idea of healing as Walters vibrantly sings behind a ravage guitar riff, “I promise I’ll fight but I can’t promise that I’ll be fine / You treated the damage that I let reside in my fragile mind / With stitches and bandage / You took the fault of my scars and you made it ours”, it precedes the haunting finale. After battling these demons, the album’s final song is “Still Remembering”, a song about saying goodbye to a lover so soon after the song of redemption and strength.

Amidst these demons are others, that are equally heartbreaking in their own way. “Hey Rachel” is a song to a younger sister, apologizing years after the fact for being a shitty brother, while “Austen” is a slow-burn of watching someone lay in their deathbed (“I know you’re tired, but please don’t sleep/ Cause I can’t bear to let you leave”). Don’t forget the crush of watching parents divorce on “Curtains Close”.

It’s unfortunate that a record that delves so deeply into these heavy issues has flaws that took me out of the experience. In what is either a compliment or a slam (depending on how you view it), this is what All Time Low’s Dirty Work should have sounded like. It mostly pertains to the first half, but it suffers some of the same problems as Dirty Work. The album is arguably overproduced and polished, eliminating some of the grit and energy that made me love the band.

Instead, it delves headfirst into pop sonically that treads a dangerous line of sometimes sounding generic. No matter how I go about it, I often times feel like I’ve heard these songs elsewhere. However, the sound and atmosphere of the record begins to diverge near the halfway point, when the band truly steps out of their comfort zone musically (“Soap”, “Austen”).

Although Okay. is unapologetically poppy and uplifting in sound, the lyrical content is true bummer (lol). What I appreciate about the album is that it doesn’t have any half-ass answers, just honest frustration and the horrors of life that help lead someone to these pits of despair… and then leaves the listener there.

The biggest issue with Okay. is that it begins sounding like any other pop punk record, as it takes some time to find the real meat of the album. While there are good concepts and ideas permeating, something just feels off throughout, leaving a record that is as addicting as it is bland. It’s not nearly enough to dissuade my love for the group, nor can I precisely place my finger on the issue, but I’m glad for the chance to hear it.

3.5/5

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 just realized that their name, As It Is, kind of symbolizes what it’s like to live with this shit. It just is… thinking too much into it? Definitely. Awake at 1 am on a work night because I downed too much coffee during the afternoon? You betcha.

Blink-182 Announce New Album “California”

blink_182_matt_skiba_2015

Woah.

What started as a leaked song earlier this afternoon has erupted into a deluge of huge announcements from blink-182. Where to begin? First, the band has released a new single titled “Bored to Death”, which can be heard below. In addition, blink-182 will be releasing their new album California on July 1 and embarking on a massive summer tour featuring the likes of A Day to Remember, All Time Low and The All-American Rejects. Got all that? Let’s break it down…

Stream “Bored to Death”:

California track listing:

1. Cynical
2. Bored To Death
3. She’s Out Of Her Mind
4. Los Angeles
5. Sober
6. Built This Pool
7. No Future
8. Home Is Such A Lonely Place
9. Kings of the Weekend
10. Teenage Satellites
11. Left Alone
12. Rabbit Hole
13. San Diego
14. The Only Thing That Matters
15. California
16. Brohemian Rhapsody

Tour dates:

tour

Phew! Share your thoughts (and excitement) in the replies!

Posted by Kiel Hauck

A Decade of Summer Soundtracks

UPDATE: When I published this in 2015, I found it therapeutic to look back on the albums that pulled me through each summer. Since then, I’ve fallen in love with new albums each year that felt perfect for the season, and I couldn’t help but update the list. Check them all out or fast forward to 2015 and see what’s held my attention for the past four summer seasons!

Summer is here, which means it’s time to roll the windows down, turn up the stereo and blast your favorite songs. I get nostalgic every year thinking about the albums I played on repeat in years past as I rode around, hung out with my friends and enjoyed the sunshine. It never seems to fail – when I think back on each summer of my life, there is always one album that seems to be playing in the background.

Therefore, I’ve decided to compile a list of the albums that served as my summer soundtrack for each of the past ten years. While this list is far from an overview of the best albums of each year, it does reflect a collection of fun records that seem to be perfect for warm summer days. Take a look below and share your favorite summer records in the replies!

underoath-tocs2004: Underoath – They’re Only Chasing Safety

This is actually my all time favorite summertime album. I still remember the day I bought it and how I drove around for weeks without taking it out of my car’s CD player. There’s something about the combination of heavy and light here that gives you the best of both worlds as the guitars transition between poppy and blistering. Spencer Chamberlain and Aaron Gillespie’s trade-off vocals are perfect for sing-alongs, and the stellar production value makes this an instant classic.

anberlin_blueprints2005: Anberlin – Never Take Friendship Personal

This breakout album from Anberlin is full of catchy hooks and fast-paced, emo-tinged rock. On Never Take Friendship Personal, Anberlin came into their own, displaying their songwriting prowess with killer tracks like “Paperthin Hymn” and “The Runaways”. If you can listen to Stephen Christian cry out, “I thought you said forever, over and over / This sleepless night becomes bitter oblivion” and not belt out the notes right along with him, you may need to get your pulse checked.

underoath_david_goldman2006: Underoath – Define the Great Line

Two years after their breakout, Underoath returned with the crushing, genre-shifting Define the Great Line. While this isn’t your typical summer album, it’s impossible to deny the sheer magnitude of the record. The masterful time-signature changes, the eerie electronic sounds, and Spencer Chamberlain’s electrifying roar changed the game. Though there’s far less melody here than was present on They’re Only Chasing Safety, it’s full of powerful, moving tracks, perfect for summer nights.

2007: Paramore – Riot!

Paramore went from emo darlings full of potential to a powerhouse rock outfit seemingly overnight when they released Riot! in the summer of 2007. A wonderful mixture of pop punk and emo rock make this a huge release, with soaring choruses courtesy of Hayley Williams. Whether you’re singing along to the slick chorus of “crushcrushcrush” or head banging along to the fiery “Misery Business”, Riot! is a record made for summer hangouts and road trips.

all_time_low_7152008: All Time Low – So Wrong, It’s Right

Although the album released in the fall of 2007, a deluxe reissue the following year helped propel So Wrong, It’s Right to new heights. To this day, it’s hard to find another pop punk release so full of energy and melody. After the opening guitars of “This is How We Do”, Alex Gaskarth pleads, “Show us off to all your friends” – and we did. By the end of 2008, it seemed like everyone in the world knew the lyrics to “Dear Maria, Count Me In”.

a-day-to-remember2009: A Day to Remember – Homesick

Another breakout album – noticing a trend here? A Day to Remember broke big with Homesick, an album that captured the band’s “easycore” sound better than any other. From crushing breakdowns capped off with cries to “disrespect your surroundings” to soaring, melodic choruses that even your mom would love, Homesick has a little something for everyone. Is it pop punk? Is it metalcore? Does it matter? Homesick is fun as hell.

The-Devil-Wears-Prada-zombie2010: The Devil Wears Prada – Zombie EP

Since I just wrote a full length feature reflecting on this release, I’ll stay brief. The Zombie EP caught everyone off guard at the time of its release and inadvertently became career defining. The furious guitar work on these five songs is unbelievable and the piercing howls and shrieks of Mike Hranica are the sounds of your nightmares. Even still, it’s hard not to turn the volume up during this horror-filled romp.

the_wonder_years2011: The Wonder Years – Suburbia, I’ve Given You All and Now I’m Nothing

The Wonder Years seem to get better with every release, but Suburbia made us all take notice. So far, it’s the definitive pop punk release of this new decade. A walk through a year in the life of lead singer Dan Campbell finds the band lamenting, celebrating and looking for answers – it’s a coming of age story that almost anyone can relate to. To top it off, Suburbia is so full of life through its twists and turns, it’s the perfect soundtrack for self-reflection on lonely summer nights.

pierce-the-veil-credit-adam-elmakias-650-4302012: Pierce the Veil – Collide with the Sky

While Collide with the Sky wasn’t Pierce the Veil’s breakout record, it certainly propelled them to a whole new level. Vic Fuentes’ duet with Kellin Quinn on “King for a Day” became Warped Tour’s song of the summer, as the two sing and scream their way through this furious track. The band is more technical than ever on this release, creating fast-paced post-hardcore numbers like “Hell Above” and calmer, brokenhearted tracks like “I’m Low on Gas and You Need a Jacket”. From front to back, Collide with the Sky is a summer smash.

letlive2013: letlive. – The Blackest Beautiful

Another unexpected album on the list, The Blackest Beautiful just narrowly edged out The Greatest Generation thanks to Jason Butler’s impassioned vocal performance. This isn’t a lighthearted release, but it does keep you on your toes. We generally don’t want our summer albums to make us think too hard, but The Blackest Beautiful commands your attention, even as its sonic background tickles your ears. The band’s wild stint on the 2013 Vans Warped Tour only added to the excitement surrounding the release.

issues2014: Issues – Issues

How can you not love Tyler Carter? The man can sing and write one heck of a hook. Issues is a melting pot of sounds, full of breakdowns, poppy choruses, wild electronics, record scratches and sincere moments. When Carter and Michael Bohn trade off during “Mad at Myself”, it’s mildly reminiscent of the Underoath’s breakthrough a decade prior. It’s easy to imagine the members blasting They’re Only Chasing Safety during the summer of ’04, only to write their own summer anthem 10 years later.

2015: Carly Rae Jepsen – Emotion

An album that caught me completely off guard, won me over, and became my favorite album of the decade (so far). Emotion sonically captures the nostalgic sounds that soundtracked the summers of my youth, but it’s also an album about feeling – something that just seems easier to do in the summertime. It’s clear that Jepsen has a knack for crafting the perfect pop song, and Emotion is front-to-back pop bliss. Tracks like “Run Away with Me” and “Boy Problems” are the perfect tunes to dance away those hot summer nights.

2016: Kanye West – The Life of Pablo

Part of the reason The Life of Pablo owned my summer in 2016, aside from my obvious affinity for his music, was that there was just so much to digest. An album that just kept growing in size (eventually capping off at 20 tracks), Pablo held my interest for months, capping off with an enrapturing live performance at the end of the summer. Nevertheless, for all of the conversation that surrounded this album, beats like those found on “Famous” and “Father Stretch My Hands Pt. 1” made this the kind of summer hip hop record that was inescapable.

2017: Halsey – hopeless fountain kingdom

While fans are still somewhat divided on Halsey’s sophomore effort, there’s no denying that it got played more than anything else during my summer of 2017. Halsey leans into some deep 80s influences on tracks that feel custom built for the season. “Eyes Closed” and “Strangers” are two underrated tracks that sound splendid with the windows down, even as “Bad at Love” become the kind of summer smash that ensured Halsey would be sticking around for a while.

2018: Pusha T – Daytona

I love this album. I love the way it reminds me of the hip hop albums that I would play throughout my summers in high school. I love how it feels fresh and new, even though it’s creator has been around for nearly two decades. I love how it captures the type of sample-based production that makes hip hop endlessly compelling. I love how Pusha T just owns his persona, his voice, his place in the genre. Daytona is the kind of perfect summer rap record that I didn’t even know was still possible to pull off.

2019: ???

Summer 2019 is rapidly heading toward the finish line. It’s probably still too early to claim a victor, but early front runners include Carly Rae Jepsen (Dedicated) and Lil Nas X (7). But I can’t out the new Chance the Rapper record or even a sneak attack from the likes of Halsey or Dua Lipa. Whatever the case, there’s been plenty to enjoy.

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.

It’s All Dead Podcast Episode: 014 – The Best of All Time Low

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Fresh off of their highest charting album to date, pop punk stars All Time Low are flying high. On the latest installment of the official It’s All Dead podcast, Kiel and Kyle break down Future Hearts, rank each All Time Low album and share their favorite songs from the band’s discography. During the discussion, they also chat about the band’s future and legacy. Listen in!

Subscribe to our podcast here.

Posted by Kiel Hauck

All Time Low Tops Billboard Album Sales Charts with “Future Hearts”

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With just over 70 thousand albums sold, All Time Low’s Future Hearts will debut at #1 on the Billboard Top Album Sales chart and land at #2 on the Billboard 200 chart, just behind the Furious 7 soundtrack. This is the best opening week of the band’s career.

Future Hearts has received rave reviews since its release last Tuesday. If you haven’t yet purchased the album, you can but it on iTunes. Congrats to the band!

Posted by Kiel Hauck