The Best Albums of 2018

December 10, 2018 by Leave a Comment

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

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

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

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

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

14. Real Friends – Composure

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

13. AFI – The Missing Man

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

12. mewithoutYou – [Untitled]

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

11. Underoath – Erase Me

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

10. Pusha T – Daytona

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

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

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

8. The Wonder Years – Sister Cities

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

7. Cardi B – Invasion of Privacy

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

6. Justin Courtney Pierre – In the Drink

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

5. The 1975 – A Brief Inquiry Into Online Relationships

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

4. Architects – Holy Hell

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

3. Fall Out Boy – MANIA

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

2. Pianos Become the Teeth – Wait for Love

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

1. Kacey Musgraves – Golden Hour

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

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

Honorable Mention

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

Posted by Kiel Hauck

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Review: Architects – Holy Hell

November 12, 2018 by Leave a Comment

“Into the night we burn and rage / In depth we repay for time on this stage / The lights are bright, but don’t lose your way / ‘Cause once it ignites, the flame must decay”

It’s nearly impossible to approach Holy Hell objectively. The eight full-length studio album from British metalcore giants Architects lives entirely in the aftermath of guitarist and lead songwriter Tom Searle’s passing in 2016 after a three-year battle with skin cancer. As such, it’s a deeply emotional and personal document. Even so, its excellence in craft cannot be denied.

You can buy or stream Holy Hell on Apple Music.

From a broad perspective, Holy Hell is an unsurprising crash course in the complexity and devastation of grief. At times, it reads like a letter from Searle’s brother, and Architects’ drummer, Dan. At others, it dwells in the depths of sorrow, desperately searching for a path forward. On a molecular level, it almost inexplicably manages to build and evolve on a sound the band had presumably perfected in recent years.

All Our Gods Have Abandoned Us solidified Architects as titans of metalcore, as if more proof was needed. Unbeknownst to listeners upon its release, that album allowed the late Searle to explore his fate in painful detail. “Death is Not Defeat”, the opening track of Holy Hell finds Dan responding to his brother’s final lyrics, acknowledging the pain of a finite existence, while gripping tightly to hope: “Now you’re finally complete / I will see you where oceans meet”.

We could spend the remainder of this review exploring the beauty of Dan Searle’s lyrics and uncanny ability to capture the journey of grief  – and there are no shortage of moments to share. But it’s all brought to life through a band stretching itself and allowing their collective pain to forge a path forward.

New guitarist Josh Middleton makes his presence felt throughout, whether it be found in surprisingly melodic riffs during the opening moments of the album’s title track or in the band’s signature mathematic breakdowns on singles “Hereafter” and “Modern Misery”. Throughout Holy Hell, the band sprinkle in elements, such as dark synthesizers and stringed instruments that blend gently into the mix, adding emotion without sounding out of place. These additions take tracks like album closer “A Wasted Hymn” to a deeper place than the band has ever been able to explore.

Atop it all, Sam Carter, long considered one of the genre’s best vocalists, delivers his finest performance. Here, Carter finds new ways to splinter, be it delicately, as on “Royal Beggars” or in outright fury as on “The Seventh Circle”. On the former, Carter fights through sorrow while singing, “Royal beggars / Do you wanna / Live forever / Alone?” On “Seventh Circle”, Carter shreds his vocal chords non-stop for 1:30 as he helplessly bellows, “I feel the blood drip from my face / Maybe it’s better to never have been”. One can only imagine the scene in the studio while putting such a performance to tape.

Carter’s ability to evolve as a vocalist, transcending the traditional role of metalcore frontman, is made even more extraordinary when considering the circumstances. On back-to-back albums, he has been tasked with delivering a surreptitious farewell and then the mournful response of the bereaved. It must be the kind of responsibility that allows one to tap into parts of themselves they never knew existed. It has resulted in the kind of work that defines a career.

In the face of such loss, it would have been understandable had the remaining members of Architects chosen to walk away. That they chose to carry on is laudable. That they were able to take their collective grief and infuse it into something so life affirming, beautiful and real is inspiring. The band’s excellence is no longer debatable. Architects stand among the elite in modern metalcore.

5/5

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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Most Anticipated of 2018: #10 Architects Press Onward

January 5, 2018 by Leave a Comment

Last year proved to be one of reflection and recovery for many in the heavy music scene, as fans mourned the 2016 loss of Architects’ founding guitarist and songwriter Tom Searle. In September, the British metalcore act released “Doomsday”, their first track since Searle’s passing, serving as a farewell to their brother and a notice that they intend to carry on.

While it was hard to imagine Architects without Tom in the near aftermath of his passing, it’s even harder to think of one of the genre’s best bands hanging it up. It’s true – things won’t be the same without Tom, but Architects have shown themselves time and again to possess the kind of talent and drive needed to push the boundaries of the genre. Whatever comes next from the band will be welcomed with open arms.

And certainly, after 2017 proved to be worse than most of us imagined, the blistering voice of Sam Carter would be music to our ears. Even aside from their musical prowess, Architects’ penchant for battling against the voices of privilege, wealth, and oppression in our world have become one of the band’s hallmarks. If ever there was a time for punk music to land a blow amidst our current state of affairs, the time is now.

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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Top 10 Songs of 2016

December 9, 2016 by 1 Comment

best-songs-of-2016

Check out our Top 10 Albums of 2016 here.

Perhaps more than ever, our top 10 songs of the year ran a gamut of emotions: heartbreak, social outcry, bittersweet, hopeful. In a year as up and down as 2016, it only makes sense. These songs cover an array of subject matter, but each one showcases the brilliance of the artist involved.

It’s always hard to pull 10 songs out of the context of a greater narrative and subjectively place them on a list. Nevertheless, we found ourselves reaching for the repeat button on the regular when these tunes graced our speakers. Take a look (and a listen) below to some of our favorite tracks from 2016.

10. Emarosa – “Helpless”

Smack-dab in the middle of the most smoldering and delicate album of Emarosa’s career lies “Helpless” – a bounding track chock full of energy and pop sensibility. On 131, a broken Bradley Walden fights for a lover with gentle pleas and fragile reflections before boiling over in this moment of heat. “If your body’s broken, love, your heart is helpless” he belts on the track’s chorus, using every inch his heralded range. Emarosa has made a career out of defying expectations and battling against the grain of vanilla song structures, but on “Helpless”, they dive headfirst into the most accessible song of their career – and the payoff is delightful. – Kiel Hauck

9. Honeyblood – “Ready for the Magic”

Although I just discovered Honeyblood within the last month, “Ready for the Magic” is a song that utterly captured my attention and hasn’t let go. It’s a perfect punk rock single – aggressive, loud and hypnotically catchy. For a garage punk song from a two-member act, it has more heart and energy than most bands with a fuller roster. A practice in simplicity, “Ready for the Magic” proves that punk rock doesn’t need to constantly redefine itself to be relevant; it just has to be good. – Kyle Schultz

8. Architects – “Gone with the Wind”

Less than three months after the release of All Our Gods Have Abandoned Us, the scene received the terrible news of Tom Searle’s passing. As lead guitarist and songwriter for British metalcore giants Architects, Searle left us with one final masterpiece, which took on a completely new and powerful meaning in light of his three-year battle with cancer. “Gone with the Wind” is a powerhouse of a song, relenting ever so slightly for the brittle lines of, “A sickness with no remedy except the ones inside of me”. Not only is the track a lesson in mechanical metalcore perfection, it’s a heartbreaking gaze inside a terrible one-sided fight. “I remember when you said to me, ‘My friend, hope is a prison’”. – KH

7. Green Day – “Bang Bang”

“Bang Bang” is easily the best single Green Day has put out in over a decade, as well as the most aggressive. The entire song is a tip of the hat to the band’s style at the beginning of their careers. It’s also one of the most controversial in the genre, as it tackles the subject of being a mass shooter. A hybrid of classic punk and 20 years of writing the most aggressive rock known to man, “Bang Bang” managed to silence anyone who has complained about the band’s evolving sound over the last decade while still pushing the band to new extremes. – KS

6. The 1975 – “Somebody Else”

Once you dig past the shiny surface of self-deprecating satire and proverbial winks at the camera, I Like it When You Sleep, for You Are So Beautiful yet So Unaware of It is truly an album filled with a deep sincerity. Perhaps no track on the album embodies Matt Healy’s candid struggle as well as “Somebody Else” – a syrupy, synth-driven slow jam straight out of the George Michael playbook. Not only does “Somebody Else” solidify The 1975 as the leaders of the pack in an age of throwback pop influence, it covers subject matter with which we’re all painfully familiar. Even so, Healy takes it one step further, digging deep into the bitterness of seeing your lover with another: “Get someone you love / Get someone you need / Fuck that, get money”. – KH

5. Blink-182 – “Los Angeles”

The most experimental song on California, “Los Angeles” is a bridge between Blink-182 and vocalist Matt Skiba’s other love, Alkaline Trio. Meshing the sounds of ska, R&B and alternative punk , “Los Angeles” is a distinct track that begins as an Alkaline song before exploding into one of the most Blink-182 sounding bridges ever written. It’s proof that Blink-182, though making a return to their original sound, are still pushing themselves sonically. The result is one of the most memorable songs of the band’s career. – KS

4. A Tribe Called Quest – “We the People”

Released on the very week of one of the most startling and terrifying presidential elections in memory, We Got it From Here… Thank You 4 Your Service not only served as the acclaimed return of one of hip hop’s legendary acts, it served as the perfect protest music for the moment. Highlighting the affair is “We the People”, which finds Q-Tip mocking the despicable notion that anyone classified as “other” doesn’t belong, beginning a chorus for the ages with, “All you black folks, you must go / All you Mexicans, you must go”. It’s an anthem of dissent in a moment that left so many speechless, while simultaneously serving as a beautiful hello and goodbye to a dynamic duo. R.I.P Phife. – KH

3. Brian Fallon – “A Wonderful Life”

The lead single from his solo album, Painkillers, “A Wonderful Life” is the essential thesis for an album tracing the edges of the American Dream. The song is immediately memorable, linking the distance between Gaslight Anthem’s rock sensibilities and Fallon’s solo acoustic direction. The drum’s never ending march, the uplifting guitar, Fallon’s hopeful lyrics and the gang “Oh oh oh oh” vocals never become tiring. Though Fallon’s past work would never be described as dark or depressing, “A Wonderful Life” makes a distinct mark as a song about dreams and hope while cherishing its own bright sound. – KS

2. Kanye West – “Father Stretch My Hands Pt. 1”

You could easily argue “Ultralight Beam” as the track from The Life of Pablo deserving of this spot on our list. A wave of gospel accompanied by the verse of the year, courtesy of Chance the Rapper, showcases Ye as the elevator of new voices. It’s the album’s following track, “Father Stretch My Hands Pt. 1” that displays his more complicated and troubling side. Future’s intro of “If Young Metro don’t trust you, I’m gon’ shoot you” immediately crashes into Kid Cudi’s opening chorus of “Beautiful morning, you’re the sun in my morning, babe”. The track is the ultimate display of West’s duality, morphing from a tasteless story about meaningless sex with a model into a fast-paced confessional booth just moments later. Before we can react, Kanye has already predestined our response: “Everybody gonna say something / I’d be worried if they said nothing”. – KH

1. Yellowcard – “Rest in Peace”

The last great Yellowcard single, “Rest in Peace” is perfect in construction. A straightforward rock song, the track was released alongside a statement that Yellowcard would be disbanding after the release of their self-titled album. Featuring a music video highlighting their career and inviting fans to see them off with one final tour, “Rest in Peace” will always be a symbol of the band’s love of what they accomplished and their loyal fans. With Sean Mackin’s violin leading the charge, Ryan Key’s sprawling vocals, and a swelling guitar solo, “Rest in Peace” tackles everything that made Yellowcard one of the best bands in rock while marking one of the most memorable send offs in music. – KS

Honorable Mention:

Halsey – “Colours”
Frank Ocean – “Pink + White”
Chance the Rapper – “No Problem”
Letlive. – “Good Mourning, America”
Future featuring The Weeknd – “Low Life”
Blink-182 – “Built This Pool”

Posted 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: Architects – All Our Gods Have Abandoned Us

May 31, 2016 by Leave a Comment

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Where do you go once you’ve reached the top? In 2014, Architects released what appeared to be their masterpiece with Lost Forever // Lost Together, a triumph of modern metalcore that firmly planted the band atop the genre. After a decade of scratching and clawing, it appeared that the bone-crushing Brighton act had reached their zenith.

With that in mind, what do we do with All Our Gods Have Abandoned Us, an album that for all intents and purposes is every bit the masterpiece of their prior release?

All Our Gods Have Abandoned Us

You can buy All Our Gods Have Abandoned Us on iTunes.

For their seventh full-length album, Architects once again hit the studio with Henrik Udd and Fredrik Nordström, a purposeful decision by a band that felt as though they unearthed the treasure within on their last record. The resulting collection of songs won’t change the narrative of the band, but it will certainly rattle your soul once more, cementing Architects as the finest metalcore band on the planet

Because of the production similarities and the band’s decision to follow the thread they pulled on their last outing, All Our Gods Have Abandoned Us won’t catch the casual listener by surprise. But for those who were transfixed with Architects’ rapid evolution, there’s even more to enjoy this time around.

The band wastes no time getting down to business, ripping out of the gate with opener “Nihilist”, an absolutely brutal track that sets the tone for the record. Lost Forever // Lost Together touched on a variety of themes related to the depraved condition of humanity, but All Our Gods points its focus primarily on corrupt Western politics and our self-elevated “gods” that bring nothing but ruin and decay. While the instrumentals of “Nihilist” grow more expansive and complex as the song progresses, vocalist Sam Carter’s lyrics become razor sharp: “All hail the corporatocracy / The word of God written in binary / All hail our apostasy / The dying notes in an unholy symphony”.

“Nihilist” doesn’t just set the tone for the album; it discloses the premise of the discussion surrounding this record. All Our Gods Have Abandoned Us forgoes the calm-before-the-storm moments of terrifying stillness that are littered throughout Lost Forever in favor of consistently tightened metalcore power that barrels through the speakers from start to finish.

That’s not to say that there’s no variety in sound – “All is Lost” features surprisingly grungy guitar tones that slightly slow the pace while “Deathwish” adds gorgeously haunting programming to its pummeling breakdowns, surgically filling out the already established Architects sound. The most noticeable improvement on All Our Gods belongs to Carter, whose vocals are now a perfect instrument alongside the guitars and drums. There is no more room for debate: Sam Carter is the finest vocalist in the metalcore scene.

His fierce screams are now complimented by melodic cries that are filled to the brim with conviction. On “Downfall”, his voice is full of desperation as the track hits the chorus: “We are paralyzed / But there are none so blind as those who will not see”. When “A Match Made in Heaven” reaches its sonic summit, he bellows to the depths in light of political corruption, screaming, “We found your fingerprints all over the trigger / If you’re looking for tyrants, take a look in the mirror”.

The rest of the band doesn’t sound too shabby, either. Guitarist Tom Searle is now officially accompanied by new sidekick Adam Christianson, and the duo sound stellar. “Downfall” is highlighted by complex breakdowns, rich with dueling guitars, right from the onset. “A Match Made in Heaven” houses some of the best riffs on the record, backed by tense, disturbing programming elements that fill out the mix. Not to be outdone, drummer Dan Searle struts his stuff behind the kit throughout the record. “Gravity” opens with a punishing wall of sound, driven by Searle’s powerful, ripping drums that break only for fleeting moments during a few small, spacey interludes that wouldn’t sound of place on an Underoath track.

If you were to find a blemish in All Our Gods Have Abandoned Us, it would only be in some of the songs’ similarities to the band’s last outing. For example, “The Empty Hourglass” sounds strangely similar to the tone of Lost Forever // Lost Together, providing an unneeded whiff of familiarity. Yet for every moment you think the band sounds the same, there’s tracks like the fearful “From the Wilderness” that add fresh, audible tonal changes while calling out our indifference to the physical peril of our planet.

For all of the ways in which Architects have mastered their craft, the most vital element of their music is their steadfast conviction. If Lost Forever was a despairing cry from the void, All Our Gods is an enraged call for action. Carter has become a fire-breathing voice for change in the metal scene, but for all of the fury he projects, he still saves plenty of venom for himself. “I’d take a leap of faith, but I’d lose my nerve / In the end, I’ll get the hell that I deserve”, he laments on “Gone with the Wind”. Even when he takes aim at political leaders and oppressive regimes, you still get the feeling that he’s indicting himself alongside.

It’s this unwavering allegiance to principle, when coupled with the band’s masterful execution, which makes Architects one of the most important and dynamic bands in heavy music today. We could spend weeks arguing between the merits of their last two outings, but that would be a terrible slight to the band’s overarching message and abilities. To put it simply, the reign of Architects continues. Enjoy.

4.5/5

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: 010 – The Best Music of 2014

December 31, 2014 by Leave a Comment

IAD_Podcast_Image

If you couldn’t find good music to listen to in 2014, you weren’t listening hard enough. On this episode of the official It’s All Dead Podcast, Kiel Hauck and Kyle Schultz break down the best albums, songs, tours and moments of 2014 and discuss the year in music. The conversation includes reflections on music from Architects, Anberlin, Yellowcard, Weezer, Taylor Swift and much more. Listen in!

[audio http://traffic.libsyn.com/itsalldead/IAD_Podcast_010_mixdown.mp3|titles=It’s All Dead podcast episode: 010]

Subscribe to our podcast here.

Posted by Kiel Hauck

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Top 10 Albums of 2014

December 8, 2014 by 1 Comment

best_of_2014

Look, we don’t like this any more than you do. These end-of-the-year lists are tedious, obnoxious, self-indulgent…

Aw, who are we kidding – we love it! Even though it’s technically impossible to subjectively rank this year’s best albums, we took our best stab at it. This year was chock full of fantastic releases, many of which won’t be mentioned here because there simply isn’t enough room (or time) to spotlight all of them.

Nevertheless, senior editor Kyle Schultz and I put our heads together and came up with 10 worthy suitors to be a part of our second-annual Top 10 Albums of the Year list. Take a gander, then let us know what your favorite records of the year were in the replies!

every_time_i_die10Every Time I Die – From Parts Unknown

From Keith Buckley’s repeated opening shrieks of, “Blow your fucking brains out!” on “The Great Secret” to his final desperate cries of, “All I want is for everyone to go to hell / It’s the last place I was seen before I lost myself” during the final crushing breakdown on “Idiot”, From Parts Unknown is unforgiving and unrelenting. Who knew a band 16 years into its career could craft what may be their most punishing and challenging album? With From Parts Unknown, Every Time I Die don’t just want to carve their name into the stone temple of metalcore lore, they want to burn the whole damn thing to the ground. – Kiel Hauck

fireworks9Fireworks – Oh, Common Life

Oh, Common Life is the type of album that reminds you of an intimate conversation with a close friend. Fireworks’ distinct pop punk style is softened to allow for more melody while vocalist David Mackinder sings a hypnotic tale of maturation that comes with the bigger life changes during your twenties and the isolation that the world can impose on you.  While it starts off very poppy, the album slowly branches and touches on styles of playing that Fireworks have never tackled before as the lyrics grow more somber and accepting of life (“The Hotbed of Life”). It’s hard to say that Oh, Common Life was what fans of the band were expecting, but it’s what they deserved. – Kyle Schultz

copeland8Copeland – Ixora

Parting was sweet sorrow for fans of indie rock act Copeland, who closed up shop in 2010. Their surprising return is more than a mere nostalgia trip, it’s a return to rare form with their new album Ixora. The band is more playful than ever, sending listeners into a dream-like trance throughout the album’s 10 tracks that include haunting electronics, prancing pianos, and even a saxophone solo. Frontman Aaron Marsh is still on top of his game, adding to his vocal repertoire during the silky-smooth chorus of “Like a Lie”. From front to back, Ixora finds Copeland better than ever – here’s hoping there’s more where this came from. – KH

new_found_glory7New Found Glory – Resurrection

Resurrection is the first New Found Glory album in several years to sound like a classic. The new four-piece rebuild their sound to be more succinct and brutal, mixing their signature pop with much heavier guitars and a thundering bass. Each member pushes their musicianship to their limits with lyricism and themes that are significantly angrier than past work. While the songs are undeniably catchy and easy to sing along to (“Selfless”), they can make the listener uncomfortable (“The Worst Person”), which may have been the point given how much the band went through in the last year. As a longtime listener of the band though, it’s easy to see how much passion and energy went into creating a record that would rise above the trials that hit them all at once. – KS

emarosa6Emarosa – Versus 

The loss of lead vocalist Jonny Craig appeared to spell disaster for Emarosa after the band released their stellar self-titled record in 2010. Not so fast. Emarosa roared back in 2014 with Bradley Walden at the mic, releasing the best album of the band’s career. Versus is rife with conflict, but it’s a struggle that produces something beautiful. When Walden flips the script just over a minute into opening track “People Like Me, We Just Don’t Play”, it feels like the sort of sonic shift that not only changes the course of the band’s trajectory, but one that slams the door shut on the past. – KH

weezer5Weezer – Everything Will Be Alright in the End

Say what you will about Weezer, there’s no denying that when they feel like it, they can put out a masterpiece of an album. The aptly titled Everything Will Be Alright In the End is the band’s answer to years of criticism regarding their constantly evolving sound. The new album sounds like a lovechild between Blue, Green, and Maladroit, blending the respective sounds of fuzzed guitars, catchy pop songs and thrashing rock. Rivers Cuomo tagged the album as a ‘classic’ in the press leading up to its release, and he couldn’t have been more correct. It’s the first release from the band that doesn’t necessarily break new ground for their sound, but it recaptures the magic that made the band an international mainstay. – KS

against_me4Against Me! – Transgender Dysphoria Blues

Gender confusion and transgender identity are topics that have been at the front of people’s minds this year, which makes it all the more appropriate that Transgender Dysphoria Blues arrived just a couple weeks into the New Year. Not only is it Against Me!’s best rock album, it’s one of the most daring in that it follows the story of a transgender prostitute that mimics Tom Gabel’s transformation into Laura Jane Grace. The album is a tight series of fist-pumping songs that are just as heartbreaking as they are catchy. In the opening title track, Grace sings, “Your tells are so obvious / Shoulders too broad for a girl / Helps you remember where you come from / You want them to notice the ragged ends of your summer dress / You want them to see you like they see any other girl / They just see a faggot”. The album is a powerful and ferociously angry statement about transgender issues in this country, as well as the struggle for people dealing with them. – KS

yellowcard3Yellowcard – Lift a Sail

Born from a tragic skiing accident that left vocalist/guitarist Ryan Key’s fiancé paralyzed from the waist down, Lift a Sail is a painful song of triumph. The band drops what was left of their pop punk roots and forges ahead with powerful, anthemic rock tracks and explosive piano ballads. Violinist Sean Mackin has never sounded better, adding texture and layers to the songs that don’t overpower, but instead compliment the entirety of the band’s new sound. Lift a Sail is encouraging as it is aching, as determined as it is vulnerable. Just when you thought it couldn’t be done, Yellowcard has topped themselves once again. – KH

aaron_west2Aaron West & The Roaring Twenties – We Don’t Have Each Other

Aaron West & The Roaring Twenties is more than just another side project. It’s one of the few concept albums to not only have a tangible story, but a character that garners genuine sympathy. The acoustic songs mix enough new elements to sound unique, and enough of The Wonder Years’ brash style to show the versatility of their music. Dan Campbell weaves a vibrantly real, dark and heartbreaking story that never feels cliché or forced. As Aaron cracks more and more with each song, Campbell’s vocals are pushed to their limit as he jumps from soft whispers, to screams, and then singing the words of a conversation, sounding as though he’s on the brink of tears. The range of themes and universal fears crammed into the album are absolutely awe-inspiring. It’s easily one of the most emotional pieces I’ve heard in years and is unlike most anything else out there. There is little doubt that he is on a level of lyricism his peers can only hope to achieve. – KS

architects1Architects – Lost Forever // Lost Together

How did a modern metalcore album land our number one spot for 2014? By rattling the well-worn conventions of the genre and spitting at the notion that the music is beyond redemption. Lost Forever // Lost Together is the best album Architects have crafted, surpassing even 2009’s mammoth of a record, Hollow Crown. Vocalist Sam Carter is full of fire from the outset, roaring across tracks of technical guitar riffs and skull-rattling breakdowns. The album is angry, sure, but you can hear the band searching for something more – something deeper. Lost Forever // Lost Together is a metalcore album that makes you think, challenges the scene’s apathy, and forges a new path for any heavy band that dare follow. When Carter bellows, “You said we’ll never make a difference / Maybe this battle is to fight indifference” on “Naysayer”, you feel the sentiment pouring from every fiber of his being. – KH

Honorable Mention:

PVRIS – White Noise

Merriment – Sway

I Can Make a Mess – Growing In

Anberlin – Lowborn

Taylor Swift – 1989

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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Architects release “Gravedigger” music video

June 11, 2014 by Leave a Comment

architects

Metalcore act Architects have released a new music video for their song “Gravedigger”. The song is the opening track on their latest album, Lost Forever // Lost Together and is the second single to be released. The video was directed by Tom Welsh and can be viewed below:

If you haven’t checked out Lost Forever // Lost Together, you really should. Check out our five-star review from earlier this year!

Posted by Kiel Hauck

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Review: Architects (UK) – Lost Forever // Lost Together

March 10, 2014 by Leave a Comment

architects

In recent years, metalcore has become the butt of more than a few jokes from onlookers outside the scene. Once a truly underground and formidable genre, the music has now become more of a formulaic brand.

Slap together a deep growler with a high-pitched vocalist to man the chorus, add one pseudo-heavy breakdown per song, and throw in some video game programming for good measure to ensure a T-shirt slot on Hot Topic’s wall and a spot on the Monster Energy stage at Warped Tour.

Every so often though, something new and fresh comes along, serving as a gasp of air above the surface. The Devil Wears Prada’s 2011 album Dead Throne and last year’s Sempiternal from Bring Me the Horizon serve as recent examples, providing a dash of optimism amidst a tired landscape of lookalikes.

This year, hope comes in the form of Architects’ Lost Forever // Lost Together.

Hailing from England, Architects are not new to the scene. They made a mark with 2009’s ferocious Hollow Crown, but until this point, had failed to capitalize on their strengths. Lost Forever // Lost Together is a no holds barred crushing display of a band with something to prove, and even more importantly, something to say.

You may want to sit down for this one. Lost Forever // Lost Together will certainly make you want to move, but the weight of its content and its swirling artistic display forces you to pay close attention and catch every detail. At its core, the album is a furious battle against the gravity of existence – a desperate search for something, anything, to hold onto.

This desperation reigns on opener “Gravedigger”, a track that unleashes the full force of what Architects are capable of in a matter of minutes. Sam Carter’s vocals are simply awesome, transitioning between a guttural roar and a pleading delivery akin to letlive.’s Jason Aalon Butler as he sings, “They sing of saviours, we sing of sorrow / But we’re still holding on for dear life”.

The album’s lead single, “Naysayer”, is a perfect presentation of what metalcore could be. The track is heavy in all of the right ways and utilizes guitarist Tom Searle’s talent during its monstrous technical breakdowns. The song in and of itself is a fight against personal complacency, but can also serve as a battle cry for the genre. Carter will strike a chord with many an estranged fan as he cries “So sick of the sound of people giving up / You can’t stop me giving a fuck / Fuck it, I’m a dreamer and I’m dreaming on”.

The album winds down a distressing road, flirting with despair but finding hope in the most unexpected places. “Broken Cross” laments the pain wrought by fundamentalist religious mindsets, while on “C.A.N.C.E.R.”, Carter fights to push forward, screaming “Find a little light and hold it close / Don’t lose sight of what matters most”.

The weightiness of Carter’s lyrics align effortlessly with the overall sound and feel of the record. Lost Forever // Lost Together is as heavy of a record as you’ll hear this year, but it’s far from a one trick pony. “The Devil is Near” uses gang vocals over the top of a punk riff while “Colony Collapse” opens with a gentle string intro that serves as the calm before the storm. The track’s atmospheric synthesizers push the song to an epic level, accompanied by a haunting refrain from Carter.

“Red Hypergiant” is a dark, spacey interlude with scattered spoken word vocals, sounding like one of the best songs that Underoath never wrote. “The Distant Blue” tragically closes the story with a feeling of drifting out to sea. The opening melodic vocals are incredible as Carter comes to terms with his uncertainty and pain. Transitioning wildly between gentle and heavy, the track exits like a whispy final breath on top of a fading heartbeat-like pulse. As the music fades, it’s hard to know whether to cheer in triumph or collapse in tears.

Lost Forever // Lost Together excels on every level not only because it sets a new musical standard for the metalcore genre, but because it digs deep at all of the right nerves. The album is angry for the right reasons and is asking the right questions. In a scene that has embraced the most banal of subject matter, Architects have blown down the door with substantial material and a call to desire something more.

Perhaps this is all summed up best in “Castles in the Air”, a crushing defeat of a song with the most powerful breakdown on the album. Atop the music, Carter rails against the poisonous grip of addiction and hollow fulfillment with everything he has before painfully releasing the song’s final lines in the form of a quiet mumble. “I wasted time building castles in the air / If there’s peace to be found, I won’t find it there”.

This line sums up the album – a continual search for peace and meaning and a refusal to settle for less. With Lost Forever // Lost Together, Architects have built the new high water mark for the metalcore genre while reminding us all of the pitfalls of complacency and the importance of searching for something more. With any luck, this display will incite just enough fight in others to reclaim the heart and motive behind this music and move it forward once more.

5/5

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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