5 Summer Tours to Look Forward to in 2019

May 21, 2019 by Leave a Comment

Personally, my summer is defined by days at the park drinking Del’s Lemonade and sitting by the ocean. It also means festivals and tours start in full swing, and my paychecks get blown to the wind. Totally worth it. This list is in no way intended to be all reunions but I guess that’s what’s selling tickets this year. Here are a few tours that I’m excited about.

Sad Summer Festival

I gave up my chance to go to Sad Summer Fest in Worcester in favor of seeing Anberlin reunite, but I’m still just as excited about it as if I had tickets. With the end of Vans Warped Tour, all of us in the scene were simply floundering about thinking of what to do this summer. We all know we’re way too cool for Coachella and Lollapalooza, so where would we get our fest kick? Along came Sad Summer Festival to save the day. The Wonder Years, Mayday Parade and The Maine are among the headliners for this aptly named tour, and what’s more, the fest is choosing a nonprofit from each city to contribute to. There’s nothing not to love about Sad Summer Fest.

Buy tickets here

Vans Warped Tour

There might only be three cities and five dates for us to choose from, but there’s no doubt that this is one of the biggest events for the scene this year, maybe only barring Sad Summer Fest. We previously thought that 2018’s would be the last we heard from Vans Warped Tour, but this year is the 25th anniversary of the tour, so it’s only fitting that there should be one last hurrah. There’s a great lineup of folks like A Day to Remember and Sleeping with Sirens that’s sure to turn up the nostalgia.

Buy tickets here

Anberlin

Anberlin is back from the dead. They are currently in Australia for a few dates, but soon they’ll be back in the States. I’ll be rejoicing because their Boston show is July 5th and I have floor tickets. The last time I saw them was their Final Tour and my balcony tickets just didn’t cut it. Will the members of Anberlin get the recording bug? I’m not sure, but I know this tour is definitely a dream come true.

Buy tickets here

The Black Keys

The Black Keys have returned from their very long hiatus and have announced a tour with Modest Mouse. Their new album, Let’s Rock, releases on June 28th. The band is one of Ohio’s finest musical children and I’m so glad that they’ve come back with more music for us to enjoy. I’m hoping for a setlist made up of a lot of fan favorites, and hopefully this will be a fitting welcome back party.

Buy tickets here

Jonas Brothers

Another band that recently got back together is the Jonas Brothers. I know we’re not really into folks like the JoBros here at It’s All Dead [Says who? – ed.], but hey what the heck. I tried my hardest to get tickets but it was to no avail. No doubt it will be a killer show, and a great way to welcome summer and a regret of mine. Curse you, scalpers! Their new album, Happiness Begins, releases on June 7th.

Buy tickets here

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

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What Makes for a Great Autumn Album?

October 1, 2018 by Leave a Comment

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

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

Listen to our podcast: The Best Music of Autumn

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

When it Was Released

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

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

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

How it Sounds

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

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

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

What it Has to Say

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

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

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

How it Looks

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

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

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

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

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Reflecting On: Anberlin – New Surrender

September 24, 2018 by Leave a Comment

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

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

You can buy or stream New Surrender on Apple Music.

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

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

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

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

Here is an overview of some of my favorite tracks:

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

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

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

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

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

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

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Podcast: The Best of Anberlin

September 17, 2018 by Leave a Comment

Later this month, New Surrender turns 10 years old. Kiel Hauck and Nadia Paiva took the album’s anniversary as an opportunity to discuss Anberlin’s legacy and the impact of their major label debut. They break down Anberlin’s discography, rank their favorite songs, and share some of their favorite memories of one of the most influential and underrated bands in the history of the scene. Listen in!

Subscribe to our podcast here.

What is your favorite Anberlin album? Share in the replies!

Posted by Kiel Hauck

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10 Classic Music Videos Turning 10 in 2018

May 7, 2018 by Leave a Comment

Even with the days of MTV music video rotation squarely in the rearview mirror, the impact of the music video can still be felt. In 2008, YouTube had become the new gathering place for music fans to experience their favorite bands and artists in a visual way, with music videos garnering tens of millions of views in the blink of an eye.

Taking a look back at some of the videos turning 10 this year, it’s easy to remember a time when we were willing to wait out the annoying buffering to get a glimpse of our favorite bands doing their thing on screen. Take a look at some of our favorites from 2008 and be sure to share some of your favorite music videos from 2008 in the replies!

Panic at the Disco – “Nine in the Afternoon”

Remember how weird it was to hear Pretty. Odd. for the first time? Lead single “Nine in the Afternoon” captured all of that stark strangeness from every angle. Clearly stylized after Sgt. Pepper’s Lonely Hearts Club Band, “Nine in the Afternoon” combines vivid colors, marching bands, archery, and odd uses of vacuum cleaners to create a surreal experience.

Fall Out Boy – “I Don’t Care”

Before the “hiatus,” Fall Out Boy gifted the world with Folie à Deux, an album unappreciated in its time. In the video for “I Don’t Care”, the band’s members embrace their inner bad boy, only to be later revealed as various celebrities and other musicians. In typical Fall Out Boy fashion, there’s more than meets the eye – it’s a satirical look at the caricature of celebrity – and it’s fun as hell.

Kanye West – “Welcome to Heartbreak”

Long before Kanye stole the mic from Taylor Swift or donned a MAGA hat on Twitter, he made a sad album of sad songs called 808s & Heartbreak. One of those songs introduced us to Kid Cudi, whose chorus on “Welcome to Heartbreak” is still just as stellar as it was 10 years ago. The dark, dingy music video matches the vibe and showcases a softer side of a complicated artist.

Anberlin – “Feel Good Drag”

It’s still hard to believe that track 8 from Anberlin’s sophomore album would go on to be the smash single from their fourth album, New Surrender. The year’s biggest rock song is displayed on video in deep sepia tones and captures the sin buried within the song. It’s the perfect video for a breakout from a band that had long ago earned its time in the spotlight.

Hey Monday – “Homecoming”

Long before Cassadee Pope was winner of The Voice and a star country singer, she fronted the pop punk band Hey Monday. The band’s lead single “Homecoming” is captured here in a bowling alley where Pope’s jerk ex-boyfriend is pulling the same tricks with a new girl. Fortunately for her, the band’s power chords save her from heart break. Or something?

Taylor Swift – “Love Story”

In 2008, Taylor Swift was coming into her own and blossoming into aa full-blown star. The video for “Love Story” finds her traveling back in time, petting a horse, and running through a field. Wait a minute, is this video actually good? No, but it’s definitely a time capsule of what 2008 sounded like.

Beyoncé – “Single Ladies”

“Yo Taylor, I’m really happy for you, I’ll let you finish, but Beyoncé has one of the best videos of all time. One of the best videos of all time!” Need we say more?

Anthony Green – “Dear Child (I’ve Been Trying to Reach You)”

This is such a weird little video, but it fit the quirkiness of Anthony Green, who in 2008 was blossoming into aa full-blown rock star. With Saosin and Circa Survive success under his belt, Green led his solo debut Avalon with this video featuring a variety of animated creatures, along with a scorned ex with…octopus arms? Eh, whatever. It works.

Lil Wayne – “Got Money”

Was there anything more thrilling in 2008 than Lil Wayne and T-Pain robbing a bank in a music video? The answer is no, there was not. Still one of the best autotune pop rap songs of its time, “Got Money” is just about as fun as music videos get, especially Wayne and T-Pain’s adorable shirts displaying “He Sings”, “He Raps”.

Metro Station – “Shake It”

This song is kinda gross and the video is mostly boring. But can you honestly think of 2008 without remembering this track playing in the background of every memory? Damn you, Trace Cyrus and Mason Musso with your whisper verses and over-the-top hooks!

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.

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Podcast: The Best Music of 2007

October 23, 2017 by Leave a Comment

It’s that special time of year again – time to talk about music turning 10! On our latest podcast episode, Kiel Hauck and Kyle Schultz break down some of the best music of 2007. As another collection of great albums turns 10, the duo reflect on classics from Paramore, Saves the Day, Anberlin, Kanye West, Motion City Soundtrack, The Fratellis, Mayday Parade and much more. Ready to get nostalgic with us? Listen in!

Subscribe to our podcast here.

What are some of your favorite albums from 2007? Share in the replies!

Posted by Kiel Hauck

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Podcast: The Best Music of Autumn

October 9, 2017 by Leave a Comment

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

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Reflecting On: Anberlin – Cities

February 27, 2017 by Leave a Comment

anberlin_photo_2007

While Cities is widely regarded as Anberlin’s best album, the argument can be made that it never fully received its due. However, it’s quite possible that both the band and its fans would have suffered if it had.

Leading up to 2007, the Florida rock act had quickly ascended the ranks, becoming one of the most revered bands in the scene. Anberlin spent their first two albums, Blueprints for the Black Market and Never Take Friendship Personal, honing their sound and bridging the gap between the popular emo leanings of the time and full-on alt-rock. By the time Cities dropped, it was clear that Anberlin had carved their own niche.

You can buy Cities on iTunes.

You can buy Cities on iTunes.

Cities can’t quite be classified as a concept album, but is certainly far more than a collection of songs. The album’s tracks are intertwined by themes of pain and frustration – an acknowledgement of the depravity that affects every community and relationship. Yet amidst the brokenness lies a will to continue the search for hope.

Not only was Cities a deep thematic success, the album showcased a band that had refined its sound to perfection. Underneath the album’s crisp production lied evidence that Anberlin had become a new leader in the genre, no longer following in the footsteps of others. Even 10 years later, Cities sounds unique for its time. If it were released today, it would still sound just as fresh and compelling.

However, just a few short months after its release, and before fans could fully digest the record, the band announced some shocking news. Having completed their contract with indie label Tooth and Nail Records, the band had been courted and signed by Universal Republic and would return to the studio to begin crafting their major label debut.

Although both the promotional and touring cycles for Cities were cut short, fan excitement for the band heightened. Soon, rumors spread that Universal Republic might re-release Cities to a wider audience or that the band might even re-record the album with new guitarist Christian McAlhaney now in their ranks. The events that followed are almost stranger than fiction, but somehow elevated the band to heights that no one expected.

There would be no major label lionizing of Cities. Instead, Anberlin released “Feel Good Drag” in the summer of 2008 as the lead single for New Surrender. The re-recorded song from 2005’s Never Take Friendship Personal left fans befuddled, as did the rushed writing and recording of the new album itself. Before Cities had even cooled off, the album had seemingly been replaced with what many perceived to be an inferior product.

However, “Feel Good Drag” became an unlikely breakthrough hit. During its 29-week climb to the top of Billboard’s Modern Rock Chart, the track became a record-breaker, spending more time on the chart en route to #1 than any other single in history. Suddenly a staple on rock radio and MTV, the band were booking large headlining tours, playing bigger venues, and attracting a massive new audience.

From a fan perspective, New Surrender received flack upon its release for feeling cluttered and uneven. While certainly not without its standout tracks, the album seemed to lack sonic direction, but also suffered from being quickly released on the heels of the band’s masterpiece.

In hindsight, there’s no denying that Anberlin’s major label signing and the sudden unexpected success of “Feel Good Drag” overshadowed what the band had accomplished with Cities, but it also changed the lives and careers of the band’s members. Without those events, would the band have been able to experiment to such critical success with 2010’s Dark is the Way, Light is a Place, return to their aggressive roots with 2012’s highly lauded Vital, or been able to exit on their own terms with 2014’s Lowborn?

Without the perceived slight that Cities received in 2007, the conversation surrounding one of the scene’s most successful and respected bands might be much different. Now, a decade later, we can talk about the album with full knowledge that Anberlin achieved a great deal over the course of their 16 year run, and that later albums like Dark is the Way and Vital even rival what the band accomplished with Cities.

Over the course of seven solid studio albums, it is my opinion that Cities is Anberlin’s most cohesive, focused and exemplary release. It features the band’s best song (“Dismantle. Repair.”), the most powerful album closer I’ve ever heard (“*Fin”), and best represents the band’s sound and purpose. However, if the short cycle of Cities meant the extended career and expanded audience of one of my favorite bands, who am I to complain?

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.

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Review: Acceptance – Colliding by Design

February 22, 2017 by 2 Comments

acceptance-2017

Well, the moment we’ve all been waiting for has finally arrived. Acceptance’s premature departure in 2006 not only left a gaping hole in the hearts of their fans, but also created one of the biggest “what ifs” in scene history. Now, more than a decade removed from the release of the band’s lone album, Phantoms, Acceptance returns.

Perhaps the greatest challenge Acceptance faces with the release of Colliding by Design is one of expectations. When someone’s only frame of reference for your band is the music you created 12 years ago, how do you reintroduce yourself after so much has changed? Colliding by Design is not Phantoms Part 2. In fact, you may be well off to leave your presumptions about Acceptance at the door before entering.

colliding-by-design

You can buy Colliding by Design on iTunes.

Regardless of the sonic evolution, one thing is clear: our hunch that Acceptance was truly a great band has been proven true. Colliding by Design is wonderful and different – we just never got the chance to hear a decade’s worth of music that would have come in between.

So let’s talk about the music. Colliding by Design is a wonderfully written and produced pop rock album. Where it differs from Phantoms is in influence and execution. That debut was chock full of obvious aggressive melody, whereas Design is much more patient and varied. The same 80s influence that has powered bands like The 1975 into the spotlight is evident, but buried delicately into the mix.

The album’s first single and opening track, “Diagram of a Simple Man”, serves as a clean starting point for fans, finding a middle ground between recent Coldplay and old Acceptance. A clear nod to the members’ confusing time apart, Jason Vena breaks through the speakers during the chorus with his signature croon, belting, “We live in black and white / We dream in color”.

There are certainly moments on Collide where we get short glimpses of the ghost of Acceptance past, including the wonderfully straight forward pop rock track “Fire and Rain” and even recent single “Haunted”, with its explosive chorus and pounding percussion, courtesy of original drummer Garrett Lunceford.

Truly, though, the album’s best moments come when the band sounds brand new. The record’s title track is a shining example of what Acceptance sounds like in the year 2017, with a deep 80s vibe and a silky smooth chorus courtesy of Vena: “Let’s kiss before you go away / Two burning stars chasing the day / There’s a look in your eye, you want to stay / So let’s kiss before you go away”.

Likewise, “Sunset” catapults itself into contention for title of the band’s best song with a perfect blend of pounding drums, polished guitar riffs and swelling synthesizers. A track that wouldn’t have sounded out of place on the Drive soundtrack, “Sunset” seems every bit the logical evolution for the band, with Vena harkening his past lyrical deliveries with sultry lines like, “She looks at me with a wicked smile / I look to her, I’m gonna stay awhile”.

Throughout the record, guitarist Christian McAlhaney continues to make his case as one of the most unsung musicians in the scene. The songwriting chops he honed during his time away with Anberlin are felt heavily on Colliding by Design, especially on tracks like “When I Was Cursed”, which sounds like it could have belonged on the next Anberlin album. Likewise, producer Aaron Sprinkle, who has experience working with both Acceptance and Anberlin, shines brightly here, pulling the right strings at just the right moment to capture the band’s growth.

It would be unfair at this point to not point out that Colliding by Design has its flaws. Like the pins and needles that come with standing up after a long rest, the members of Acceptance are still early in their reunion and are surely working muscles that haven’t seen use in years.

Recorded in chunks, with ideas being sent back and forth throughout the process, the album sometimes suffers from a disconnect between songs and flows uneven at times. Even so, there’s an overarching theme to the record that helps hold it all together – a clear love the band has for one another and an eagerness to learn what it means to be Acceptance again.

We are fortunate to have new music from a band that we never truly expected to return. We are also fortunate that a band of such talent saw fit to create something new and honest instead of trying to replicate the past. Phantoms was a perfect album for its time, but any attempt to recreate such a time capsule would undoubtedly resulted is disappointment. The very existence of Colliding by Design speaks to hope in the present and in the future.

4/5

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.

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It’s All Dead Podcast Episode: 013 – Best Album Openers and Closers

April 3, 2015 by Leave a Comment

IAD_Podcast_Image

There’s something about a great opening track that can set the tone for an entire album. Likewise, a killer closer can bring things full circle and act as the perfect bookend to a great record. On this episode of the official It’s All Dead Podcast, Kiel and Kyle break down their favorite album openers and closers of all time. Listen in and share some of your favorites in the replies!

[audio http://traffic.libsyn.com/itsalldead/IAD_Podcast_013_mixdown.mp3|titles=It’s All Dead podcast episode: 013]

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Posted by Kiel Hauck

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