Review: The Longshot – Love Is for Losers

There are two incredibly distinct versions of Billie Joe Armstrong. One writes rock operas that flawlessly meld biting, poetic verses and savage critiques of government. The other just loves writing pop songs. The one constant between the two is that no matter who holds the pen, Armstrong is going to belt out some absolutely killer songs designed to stay in your head. Love Is for Losers by The Longshot, his newest side project, is a band that has fun with rock and isn’t crippled with expectation.

The first thing anyone who listens to The Longshot will wonder, is why this wasn’t released as a Green Day album. The obvious answer is that Green Day is a group that seems to be aiming for higher goals. Their experiment with the ¡Uno!, ¡Dos!, ¡Tré! trilogy showed that following up several critically acclaimed rock operas is difficult when the band just wants to release some pop songs without the depth of American Idiot or 21st Century Breakdown. Love Is for Losers is the answer.

These songs are fun. Incredibly catchy, and packing the energy of Armstrong’s signature power chords, The Longshot is power pop at its finest. These are party songs that feel instantly familiar to anyone who has been a fan of Armstrong for more than a minute. Traces of each of his ventures can be heard in the album. “Taxi Driver” beckons the ghost of Green Day circa Nimrod. “Turn Me Loose” channels Foxboro Hot Tubs, and I’m sure you can find traces of Pinhead Gunpowder and some Bille + Norah if you look for it.

Bandmates Jeff Matika (bass), David S. Field (drums) and Kevin Preston (guitar) deliever some killer performances, but it is almost impossible not to compare them to Tre Cool or Mike Dirnst. They are obviously influenced by the other members of Green Day, and give as sincere an homage as is possible. While their performance is worthy of the influences, they give Armstrong a chance to write pop songs free of the weight of his main band on his shoulders.

What does stand out is how Armstrong’s songwriting formula shifts just slightly for The Longshot. There is a slight influence of southern rock in the guitar (“Cult Hero”). Hand claps litter the verses (“The Last Time”, “Soul Surrender”) and guitar solos run rampant just because they can. The Longshot also remind me that I miss classic Green Day, before they took on their political edge. Most of these songs could have been pulled off of Nimrod, and it’s actually refreshing to hear something like that again.

Perhaps the only downside (or upside, if you prefer) is that there is nothing lyrical to bite into. These are party songs, designed to be easy to sing along to without thinking about it. For example, the title track, “Love is for Losers” has a chorus of, “Hey kid, love is for losers now, alright / Stupid kid, you’re a loser now, alright”. While it’s nice to be able to sing along to literally any of these songs midway through the first listen, it’s upsetting to know that it is just a tease of Armstrong as a writer.

Love Is for Losers isn’t a reinvention, because it doesn’t need to be. It’s an excuse to write classic power pop songs. The Longshot is essential listening for fans of Green Day. While it is disappointing that the wit and anger that fuels Armstrong’s best writing is nowhere to be seen, songs like these are rarely written anymore. Love Is for Losers may not be anyone’s favorite album, but it’s impossible not to enjoy.


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 wrote this while attempting to eat an apple. It fell off of the table after one bite and rolled under the couch, because why wouldn’t it do just that?

Review: Green Day – Revolution Radio


Absolutely no one can make a comeback quite like Green Day. Though the band have released quite a few of the most influential punk rock albums of the last few decades, the Uno, Dos, Tre experiment seemed to have set them back a few steps. The triple album set felt slapped together, brandishing an album’s worth of great songs spread between two records’ worth of B-sides and fluff. Revolution Radio is a return to form that manages to scale the mountain of expectation set by the band’s best albums: Dookie, American Idiot and arguably, 21st Century Breakdown, while cutting out the fat.

You can buy Revolution Radio on iTunes.

You can buy Revolution Radio on iTunes.

Revolution Radio is the band’s most cohesive album in nearly a decade; shorter and easier to digest than the great political operas Billie Joe Armstrong has written, the album is the perfect hybrid of the classic punk rock that made the band a worldwide phenomenon in the 90’s, and the flame tongued political warfare that arguably made them even more famous in the mid-2000’s. Revolution Radio finds the sweet groove between the rippling wall of power chord studded punk rock that Green Day made a signature sound, and the sweet taste of classic rock that found form on 21st Century Breakdown, the last great album they put out.

While Billie Joe doesn’t delve into the rock opera portion of storytelling for this newest outing, his heart is still in the same place. The result is an album that manages to take deep jabs at the politics of America, while retaining the spirit of the disenfranchised punk that personified the group early in their career.

If you know the band at all, then you already know what to expect: Billie Joe Armstrong’s guitar is a sound of nature itself. Wave after wave of his harsh power chords somehow create the most aggressive punk rock and the jauntiest pop songs known to man (“Revolution Radio”). Mike Dirnt’s bass guitar give the songs the backbone to propel them above their peers in every way, rounding out Armstong’s guitar in full sound. Tre Cool’s drumming is prolifically astute, comparable to Blink 182’s Travis Barker – not in style by any means, but that his work can draw you into the song more than the guitar can at times.

Lead single “Bang Bang” has gotten a lot of coverage of late as being written from the perspective of a mass shooter (“Bang bang! Give me fame! / Shoot me up to entertain / I am a semi-automatic lonely boy”). It is also the hardest song on the album, sporting an unrelenting wall of sound, rounded by a bouncing bass line and thundering drumming that reflects the chaotic march and tension of the act. With backing haunts of “hoorah” against the lyrics of “I want to be a celebrity martyr, the leading man in my own private drama”, “Bang Bang” brings attention to the crisis of the mass shooter as much as it does mock those individuals for falsely glamorizing the act.

“Revolution Radio” sounds (to me) like a sister song to American Idiot’s “Letterbomb” in theme if not sound. The song calls for rage, and illustrates an image of destruction while calling for truth amidst a revolution. The song sets the theme for the album, setting the pace for heavy punk guitar set against Armstrong’s poppy voice and antagonistic lyrics.

At this point in their career, it has become a joke that “Green Day songs sound the same,” but the joy in the band is hearing how they find new ways to construct their music. Opening track “Somewhere Now” borrows heavily from the classic rock aesthetic of 21st Century Breakdown, beginning with a rhythmic acoustic guitar before blasting off. Singing, “I’m running late to somewhere now I don’t want to be / Where the future and promises ain’t what it used to be / I never wanted to compromise or bargain with my soul / How did life on the wild side ever get so dull?”, Armstong seems to ask himself how punk rock became so neutral. The song keeps tempo and finds a balance between the guitar with a flourish of backing vocals and sleigh bells. The song is a perfect blend of the band calling back to one of their best albums and experimenting to make something unlike anything else on the album.

“Say Goodbye” sounds aesthetically like a spiritual successor to “East Jesus Nowhere” in terms of Tre Cool’s beat, and Armstrong’s critique on police shootings d0 just as much to throw him deeper into spirituality as “East Jesus Nowhere” did to dismiss it. “Violence on the rise / Like a bullet in the sky / Oh Lord have mercy on my soul / Kindred spirits sing for the sick and suffering.”

“Forever Now” continues the tradition of the band constructing a massive operatic song in several parts that has appeared on every project for the last decade. Much in the way that “Jesus of Suburbia” set the story of American Idiot, “Forever Now” caps off theme of Revolution Radio. Where opener “Somewhere Now” asked how the punk rock lifestyle became so dull and seemed a call to arms, “Forever Now” embraces the sound of pure punk chaos while Armstrong sings the melancholy of being a rock star in this day and age compared to where he started. “My name is Billie and I’m freaking out / I thought before I was, now I can’t really figure it out / I sit alone with my thoughts and prayers, screaming my memories as if I was never there”, before shifting tempo and theme to “If this is what you call the good life, I want a better way to die”. The song shares several themes and guitar riffs from “Somewhere Now”, with everything between supporting the acknowledgment that political punk rock is a dying art form.

Revolution Radio is the best of Green Day. There are as many call backs to their best works as there are forays into territory unknown. It’s a political album that allows enough room to find love with those who were turned away with the war against Bush in 2004. It sounds like the classic band that set the punk world on fire 20 years ago as much as it does a band decades into their career, pushing their boundaries while acknowledging who they are and being damn proud of it. Where the band may have stumbled on their triple disc experiment, Revolution Radio rights the ship and sets the course for the rest of their third comeback from the brink.


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 loves Green Day more than certain family members. That said, he realizes that Uno, Dos, Tres was not the best of times. But he listens to them. Oh, how does he listen to those records with his ears and a heart of love. Even so… “Kill the DJ”? Really? Ugh…


Most Anticipated of 2016: #4 Green Day Bites Back


King for a Day

Say what you want, but no one knows how to throw a curveball like Green Day. American Idiot not only reinvented a band everyone thought was done, 21st Century Breakdown proved that it wasn’t just a fluke and provided two of the finest rock albums this century. While the ¡Uno!, ¡Dos! and ¡Tre! trilogy met a more lukewarm reception, the band has made a career out of dropping masterpieces when no one is looking.

While I don’t expect their next album to impact rock the way American Idiot did, I do expect the band to have learned from the mistakes made with the trilogy and produce a highly polished and focused effort. While the trilogy felt like classic Green Day, with fun lyrics and loose, poppy songwriting, there’s a moderate to good chance that this will be another political album, especially given the never ending and escalating number of political scandals, elections and police scrutiny. It’s prime material for Billie Joe Armstrong to mine from.

There is the argument that all of their albums tend to sound similar, but if they changed their sound much people would bitch just as much in the other direction. With the American Idiot Broadway show under his belt, there is plenty for Armstrong to experiment with now on other projects, and he has a knack for writing rock operas. There’s no indication that this is the case so far, but a boy can dream.

Regardless, a national arena tour is much overdo from the band. Green Day put on the single best live performance I have ever seen, and I look forward to seeing them again every time they come even remotely close to wherever I happen to be.

Love them or hate them, new Green Day releases tend to be events in the rock community that forces the mainstream radio to shine a light on punk rock again, no matter how brief.

Long live the kings.

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 nine hours to Detroit to see Green Day play a show. How the hell is it that far away? Geography is a horibble science

Review: The Used – Imaginary Enemy


At Warped Tour 2013, The Used took the stage in the colorful neon face masks that signify the Russian punk rock activists Pussy Riot. Part of their set was played in the masks before they were removed, and a cascade of rainbow powder flew over the swarming crowd like smoky rain. It was an energetic, memorable riot that played the perfect centerpiece for the energy that The Used brought to the stage.

Imaginary Enemy is a riveting, constantly evolving and inflammatory punk album. To newer listeners, it is a concise and powerful album, serving equal parts rampaging energy, fun.-inspired pop and American Idiot stylized anarchist lyrics.

Fans of the band’s past works may have a much harder time finding the love in this album that they had hoped for, but this is a much larger, more mature and enraged album than many past efforts.

The Used have altered their sound slightly for each album, introducing different elements and gradually making a light shift towards a poppier sound. Imaginary Enemy is first and foremost a pop album, despite leading with a heavy rock song like “Revolution”.

The Used have more or less abandoned the hard edge that made them famous, as well as the screams of vocalist Bert McCracken. If that alone deters you, you will not like this album, period. If you’re willing to still ride the ship out, Imaginary Enemy is an ambitious album that toys an expectation that hopes to rally the awareness of the evils in persecution and rampaging government.

As stated, this is a pop album. Several songs have a soft open, piano and synth play an integral part to a majority of the album and the screams are few and far between. That’s not to say that the sound is bad, it’s just different.

For being an album with the theme of revolution, it is quiet and stealthy. It feels like a lot of elements may be based off of the sound bands like fun. or the softer parts of Panic! At the Disco. Allegedly, the album was written “backwards” with the music written to accompany the already recorded vocals, which could explain the eccentric change in tone from this album and the rest of the discography.

That said, each song is surprising and unlike anything they’ve released thus far in their discography. The hooks are immaculate, varied and expertly executed. Quinn Allman’s guitar work is flawless and intricate, bringing to mind something akin to AFI’s Jade Puget on Crash Love. Even though he’s the only guitarist, he manages to keep the framework and sound of several musicians at once.

Jeph Howard’s bass guitar work keeps the hooks popping and never sounds dull, even in the slowest songs. Dan Whitesides’ drumming is hypnotic and incredibly powerful, dipping from the sounds of natural and electronic drums.

Opening track “Revolution” is the most punk song on the record, offering chugging chords and a brutal chorus designed to bring the pit to pure ecstasy. “A Song to Stifle Imperial Progression (A Work in Progress)” is one of the more bizarre songs on the record. It’s a fuzzed vocal punk song that suddenly turns into a disco-tinged dance song for an anarchist chorus of, “We’re saying no way, no way USA”.

Most of the middle section of the record is painted with soft rock and ballads, like the soft spoken “Evolution” with sprinkled keys of what sounds like a toy xylophone. “Kenna Song” features the gentle guitar strums of Jimmy Eat World backed by thunderous drumming and backing vocals made for indie pop radio.

My only real complaint with the sound is that it’s too overproduced. The music is a little too over the top, though it allows the piano and keys a beautiful groundwork to play over. However, a little more crunch and fuzz to the guitar and bass would have helped keep an edge to the music that loyal fans would’ve appreciated.

Lyrically, this is the most incendiary the band has ever been. The new political nature of the band is a welcome advancement in theme over the broken heart and overly tread emo lyrics in the genre. It’s much more provocative and enticing where it needs to be.

It’s a nice journey through the evolution in discovering the hatred of politics that runs full circle, from the opening choruses of, “This is the end, this is the end, calling for revolution”, to the confusion of “Imaginary Enemy” as McCracken sings, “Who taught me to hate you, hate you, hate you? Who created the enemy?”

While it’s easy to brush aside the lyrics as anti-government or anti-USA, there’s a deeper underlying ideology to it that focuses on the rage in not knowing who to be angry at, and being a generation falling in line because there isn’t anyone to focus that anger on. In “Force Without Violence”, he sings, “This brave opposition comes naturally, being exactly who we’re supposed to be / Things will never change if they remain the same, being exactly who we’re supposed to be”.

Imaginary Enemy is an album that shows a band leaving the comfort zone entirely, possibly for the better. If you were hoping for the next great hardcore record, keep looking. For anyone else, this is an incredibly surprising, sometimes cheesy, but powerfully mature record of pop songs and anger. To say the album will be divisive is an understatement; it’ll be remembered as their most disappointing record, or their greatest hour.


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.