Queue It Up: November 5, 2018

While there may not have been that many notable albums hitting shelves last Friday, some of our favorites released some individual tracks that I know everyone will be interested in.

First up is the King of Emo himself, Gerard Way. Just in time for Halloween, Way turned in “Baby You’re a Haunted House”, a short song about the way we hide things in relationships. The “haunted house” refers to all the things that are wrong in Gerard’s subject’s life, and the way he or she masks that is by making it look like it’s not a big deal.

Gerard says in the bridge, though, “I’ll be the ghost inside your head when we are through”, and it seems like one of the biggest problems is the relationship itself, and when it ends, they’ll add Gerard to the group of things inside the haunted house. Perfect for both Halloween playlists and for crying your eyes out when you’re the ghost.

Next we have ”Pope” by Copeland. The track is not officially attached to an album or an EP (yet), which is equally exciting and terrifying. Just one mystifying track. With sprinklings of dialogue in the middle and at the end, Copeland really keeps surprising us with every new release. Whatever this turns into, “Pope” itself seems like a B-side from Ixora, and that thrills me.

The band performed “Pope” at their Imperial Symphony Orchestra show, and on the web page for that show, it states that, “Lakeland rock band Copeland will release a sixth album in Spring 2018,” which, granted, has already passed us by, but gives me hope that whatever happens next will be beautiful.

Finally, hot off the presses as of this author’s recording, and perhaps the most praise-hands-emoji inducing, is “Baby”, the new track from Clean Bandit featuring Luis Fonsi and Marina Diamandis. I am especially excited because this track will also be on Marina’s next studio album. She’s back, even when we all thought she never would be. There was a comment on this song calling it “Despacito ,,” and to be honest, if that were the case I wouldn’t even be mad. The track is catchy and totally dance-worthy, and the video is just as great.

So, some rad new jams to throw in your rotation…Enjoy the week!

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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Reflecting On: Copeland – You Are My Sunshine

I’m a firm believer in the connection between our personal journeys and how that plays into the music that we hold dear. When I became obsessed with Copeland’s You Are My Sunshine, I was in the midst of what remains to be the worst, and one of best, times in my life.

I’ve only briefly touched on this several times, but I suppose it’s time to lay out the whole story about my grandmother, Linda. Anyone who met her immediately loved her. She was the kindest, most thoughtful human I’ve ever met, and still no one compares to the way she always knew just what was needed to turn a bad day around. From cookies to a movie night, she was always the perfect diversion from what reality threw at me.

You can buy or stream You Are My Sunshine on Apple Music.

I was only 17 when she passed away from cancer, and even though everything feels like a big deal at 17, facing things without her these past few years have only made the bad seem worse. She always knew how to look on the bright side, which is something I’m really bad at doing. One of her favorite songs was “You Are My Sunshine”. She used to sing it to her kids (my mom and her brother) when they were young, and then to my siblings and I when we were younger.

Now that you’ve met Linda and, I’m sure, already wish you had known her, let’s talk about Copeland’s album of the same name as that 1939 Jimmie Davis hit. The album, for me, jumps back and forth, uncannily telling the story of my 2015: the year my grandmother died and the year I met the man I married three years later. It was the year I watched my family fall apart, but it was the year I saw them stand back up, stronger than ever.

The album begins with “Should You Return” and the lines that pertain here are, “But now there’s nothing left to do but waste my time / I never knew where to move on / I never knew what to rely upon”. Cancer takes such an emotional toll but it also takes a toll on time. The nights my mom would be at the hospital, it was up to me and the rest of my family members to keep the house running, to keep some semblance of order. Once my grandmother passed, my mom was back again, so I had more time on my hands. The extra time, though, wasn’t a blessing. It was used as a grief outlet.

“The Grey Man”, under normal circumstances, is just another song about a breakup. But for me, the song turned into both a ray of hope – “You’re gonna run right back to her arms” – and part of the realization that she was actually not going to come back.

The third track on this album, “Chin Up”, may be my favorite song Copeland has ever written (a close second is “In Her Arms You Will Never Starve” from Ixora). My mom leaned heavily on us during the time the cancer took to run its course. I feel like I bore a lot of the weight because I’m the oldest child, but maybe I’m just being narrowminded. Anyway, “You’d break your neck / To keep your chin up” felt so real then. My mom and I are ridiculously similar, and we deal with our feelings the same way – we don’t. We’re not fans of pity parties being thrown in our honor. I felt like I had to be strong enough so my mom felt comfortable leaning on me if she needed to. That feeling kind of stuck around though, even to this day, even when it’s not necessary.

“Good Morning Fire Eater” is kind of an aftermath song for me. ”The day is done and everyone’s gone now / You can taste every fire and hold every song”. I graduated high school shortly after my grandmother passed. So this song is kind of a sigh of relief, now that she wasn’t suffering anymore. And I held onto the idea that everyone has after high school: the world was my oyster.

We all know the stages of grief: denial, anger, bargaining, depression, and acceptance. If I’m continuing this track of being honest, I’m still having trouble with the acceptance part. But I had no trouble with the depression. “To Be Happy Now” is the best expression of that depression I’ve found up until Paramore released “Rose-Colored Boy”.

So let’s bring the mood up a little toward positivity. I was talking to a guy and he had really helped me through some of the tougher stuff I was having to deal with. My grandmother passed in June. By that point, Jeremiah was asking when I’d be his girlfriend and I told him we’d talk about it when I turned 18. I turned 18 in August and by September 2nd, we were together. The next two tracks on the album, “The Day I Lost My Voice (The Suitcase Song)” and “On the Safest Ledge”, respectively, provide two outlooks on this new relationship I was fostering: one of severe skepticism as I was no stranger to how quickly things can be taken, and the second, which was jumping headfirst.

“Not Allowed” is a jump back into grief and a different perspective of how I dealt with it. I felt that I needed so badly to be strong for the rest of my family that I pushed all of my feelings aside and just kind of forgot how to be upset about the loss we had all just experienced. It wasn’t some righteous quest to be the best griever. I just chose numbness as my coping mechanism. Disclaimer: Don’t do that. “Strange and Unprepared” follows that same theme: “And you never feel good or bad / Just strange and unprepared”.

In 2015, I had a whole array of feelings to choose from, and most of them were new. I’d been sad before, but not in this way, not in the way of “maybe I’ll never smile for real again.” I’d liked people before, but not in the way I had fallen head over heels for Jeremiah. So “What Do I Know” was kind of a pep talk. I was really in uncharted emotional territory, and I was trying my hardest to stay grounded.

The album closes with “Not So Tough Found Out”. That’s the song that brings me to today, to right now. I’m not as tough as I’ve always seen myself, and I’m learning to be okay with that. How can one year bring about so much change? I ask myself that a lot. I guess one way to describe it is when you get the star power-up in Mario Kart. Everything speeds up around you and suddenly you’re one lap away from the finish line instead of two. You’re not concerned with what happens in the meantime, but, watching the playback, you see that you knocked Yoshi off the track and he ended up in eighth place.

Looking back on 2015 still hurts and still thrills, kind of like Copeland’s You Are My Sunshine. It gets so low, but then Aaron Marsh sings lines like “Could you be happy / To fall like a stone / If you’d land right here safe in my arms”, and I’m reminded of the guy who was able to bring me out of my grief, and the fact that when I get home tonight, he’ll be asleep on the couch because he tried to wait up for me to make sure I got home safely.

Maybe I’ve learned more about looking on the bright side because I don’t have my grandmother there to do it for me anymore. All I have is her example and the need to make her proud. I know I’m not going to do it perfectly, but I’m trying, and I think that’s what counts.

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.

What Makes for a Great Autumn Album?

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.

Copeland: Cracking Nostalgia in Chicago

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The Double Door is one of those classic music venues in Chicago that almost seems like a stereotype – tucked beneath a train line, it could appear to be a graffiti riddled wall easy to overlook. Inside, it shows its age with darks walls, dim lights and the vinyl-gleamed stucco that old buildings brandish like tattoos. This place was made for music, and even though its location seems pushed to the side, everyone in the city knows and respects its reputation.

There couldn’t be a better location for Copeland’s Now/Then tour. A band who has never particularly been directly in the spotlight, they have caught the attention of the highest aspects of the scene, be that vocalist Aaron Marsh’s recommendation plastered on the cover of arena-rockers Paramore’s debut album or gathering powerhouse talents like Ace Enders and Kenny Vasoli to open for their (first) farewell tour.

The Now/Then tour is an ethereal experience that might focus on the “best of,” but it encompasses every aspect of what makes them such a unique brand. Their writing is nearly orchestral in arrangement, which lends to the fact that they’re one of the few musical acts that might actually sound more polished live than recorded. With a tour structured on working backwards through their discography, Copeland have shown not particularly their growth as a band, but how well-crafted their music has been since Beneath the Medicine Tree came out 13 years ago.

rae-cassidyWith the floor filled with talkative hipsters finding the happy medium between a light buzz and shouting conversation, opener Rae Cassidy took the stage. Armed with three violinists and a ukulele, Cassidy set right in, lightly plucking against the swell of violins. Her voice, bright and powerful, seemed to silence the crowd instantly, with a round of shushing sweeping the back of the room.

A mix of pop and indie R&B, her music was a perfect hybrid of someone who seemed influenced by Copeland’s softness, but embraced multiple genres to flesh itself out, unafraid to let the violins and gentle pauses lead the song. Though the music was soft, her voice was beautiful.

Standing center stage like a princess in a summer dress, she sang with command. I couldn’t help but think of a female Kenny Choi from Wolftron (and Daphne Loves Derby) with country and folk influence imbued with the purpose of Lorde. I was left wondering not only how I had never heard of her before, but also how long it would be before she became a household name.

copeland-3While finishing her last song, Copeland took the stage, becoming her backing band while perfectly transitioning from her setlist to theirs. Their first song, “Not So Tough Found Out” (featuring Rae Cassidy!) suddenly became “Chin Up” as Rae left the stage, only to crop back up throughout the night to provide backing vocals. Her violinists remained on the side, adding to almost every song they played.

Split into two distinct playlists, their first set contained music exclusively from You Are My Sunshine and Ixora, including the version of “Ordinary” off of the companion Ixora: Twin album. It was a perfect ploy to lure back the drop-off fans, who listen to nothing but the “classic” albums. It’s easy to say that a band “doesn’t sound like they used to,” but watching them work backwards, it became obvious that Copeland has known their trajectory all along. It was fascinating to hear the crowd singing along louder with each song as they became more familiar with the material.

After an intermission, they returned to play from their better-known albums, In Motion and Eat, Sleep, Repeat. As expected, this set was much more energetic. Not only because the crowd as a whole knew the words to every song, but because it included the few pop songs with Aaron Marsh on guitar, including “No One Really Wins”. Paired against and after their new material, there was a distinct awareness of just how talented the band was in their younger years compared to their peers. Their first albums didn’t sound like a band finding itself, with singles that sound out of place compared to their current material. “You Have My Attention” stood out as it closed the set with Marsh hitting the perfect high note against the rapidly swelling guitars.

copeland-2After stepping away for just a second, Copeland reappeared for their encore: a full six song set from Beneath the Medicine Tree, arguably their most famed record. Featuring “Take Care”, “When Paula Sparks”, “Coffee” and ending on the bittersweet “California”, the band melted the room into an intoxicating atmosphere of nostalgia and profound romance.

Now/Then is a simple, but effective concept that manages to blur the line between a greatest hits tour and a timeline of artistry that shows the complexity and craft of a band unlike anything else in their genre. They may be tucked away from the obvious, but they were built for this all along.

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 has now seen Copeland three times, twice awkwardly opening for punk bands, but holding their own. Aaron Marsh once hit the high note in “You Have My Attention” for what felt like a solid minute. He is for sure over exaggerating the recollection, but the crowd lost its mind cheering Marsh on as he tried to hold it as long as possible. Good times. Better than yours.

 

Copeland and Eisley to Embark on Fall Tour

copeland

After a few days of teasing, Copeland has revealed an upcoming fall tour with support from Eisley and We Are the City. There are currently VIP packages that will get you into a private acoustic show at your date. One VIP option also includes the Ixora twin companion record on vinyl. You can see all of the options at the band’s website.

Dates below:

Nov. 05 – Nashville, TN – Cannery Ballroom
Nov. 06 – Carrborro, NC – Cat’s Cradle
Nov. 07 – Baltimore, MD – Soundstage
Nov. 08 – Philadelphia, PA – Theatre of Living Arts
Nov. 10 – New York, NY – Gramercy Theatre
Nov. 12 – Boston, MA – The Sinclair
Nov. 13 – Pittsburgh, PA – Altar Bar
Nov. 14 – Pontiac, MI – Crofoot
Nov. 15 – Chicago, IL – The Metro
Nov. 17 – Minneapolis, MN – Varsity Theatre
Nov. 18 – Des Moines, IA – Woolys
Nov. 20 – Billings, MT – Pub Station
Nov. 21 – Missoula, MT – Stage 112
Nov. 22 – Portland, OR – Hawthorne Theatre
Nov. 24 – San Francisco, CA – Great American Music Hall
Nov. 25 – Los Angeles, CA – Troubadour
Nov. 27 – San Diego, CA – The Irenic
Nov. 28 – Pomona, CA – Glass House
Nov. 29 – Tucson, AZ – Club Xs
Dec. 01 – Dallas, TX – Trees
Dec. 02 – Austin, TX – Mohawk
Dec. 03 – Houston, TX – Warehouse Live
Dec. 04 – New Orleans, LA – House of Blues
Dec. 05 – Atlanta, GA – The Loft
Dec. 06 – Orlando, FL – The Social

Posted by Kiel Hauck

Paramore and Copeland Write the Future Together

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I bought Paramore’s debut album at the recommendation of Aaron Marsh. A quote from the Copeland vocalist was featured on the front of All We Know is Falling, championing the band as the next big thing. That’s all the endorsement I needed, and it turned out to be one of the best purchases I ever made.

The careers of the two aforementioned bands are intertwined much further than just that sticker, though. Paramore played their first show as openers for Copeland in 2004, during a tour stop near Nashville. Paramore singer Hayley Williams has long sung Copeland’s praises, even after her band vaulted theirs in popularity.

It’s fitting that Paramore would invite Copeland on the road as the openers for “Writing the Future”, a collection of intimate dates in which the band says goodbye to their self-titled album cycle and moves on to whatever lies ahead. Seeing these two bands grace the stage together in 2015 serves as a reminder of the powerful bonds this scene has created and fostered.

***

It was just over a year ago that Copeland announced their unlikely return. After a four year absence, the Lakeland, Florida, indie rock act returned with a new album, Ixora. That release captured everything beautiful about the band’s past, while still forging ahead sonically. For a band that never received the widespread acclaim that it likely deserved, this resurgence feels wonderfully appropriate.

Things have truly come full circle as they set the table for Paramore during “Writing the Future.” Copeland takes the stage in Louisville, Kentucky, opening with three tracks from Ixora before turning back the clock. Marsh mentions from the stage that these shows are about celebrating the past before playing “Coffee”, a fan favorite from Beneath Medicine Tree. The band also takes the time to perform other classics like “When Paula Sparks”, “Brightest” and “Sleep”.

What’s impressive is how solid the band sounds – Marsh’s vocals are better than ever as he effortlessly pulls out his falsetto during “The Grey Man”. Copeland has long been respected for their ability to blend emo and pop sounds into a pleasant presentation that never sounds over the top. Marsh spends much of his night at the keyboard, but still takes the time to sling a guitar over his shoulder for an extra punch on tracks like “You Have My Attention”.

It’s likely that many of Paramore’s newer fans have no memory of Copeland’s heyday and are just now hearing the band for the first time. Just as Marsh once vouched for the young band of high schoolers from Franklin, Tennessee, Paramore is now able to give back to a band that gave them a shot over a decade ago.

***

Ever since their earliest days, Paramore has been known for their wild and lively performances, thanks in part to the energy of Williams. Somehow, the passing of time has only served the raise the bar for the band’s live shows, as this current incarnation of Paramore is as tight as ever.

Not only is Williams just as bouncy and energetic on stage as she has ever been, her vocal performances are through the roof. When she takes liberties with the melody, it’s not out of necessity, but instead out of welcome spontaneity and energy. Guitarist Taylor York and bassist Jeremy Davis sound as professional as ever, coupling with a few backing musicians to create a full sound that more than does justice to the band’s recording.

The addition of Aaron Gillespie behind the drum kit now feels as natural as ever. The former Underoath drummer powerfully drives the songs ahead, adding fills at just the right moments to keep things lively. Songs like the epic rocker “Part II” sound even more compelling than the actual recordings thanks to Gillespie’s drive behind the skins.

If “Writing the Future” is a goodbye to the Paramore album cycle, it’s also a chance for the band to play some fan favorites that have never been performed live before. Their performance of my personal favorite song, “Miracle” from Riot!, incites an explosive reaction from the crowd. Likewise, forgotten Twilight stowaway “I Caught Myself” and an acoustic performance of “Misguided Ghosts” give fans the chance to hear a few forgotten favorites.

Whether Paramore is thrashing through a rendition of “Never Let this Go” from their debut or slowing down for recent single “Hate to See Your Heart Break”, every performance feels authentic. Paramore has evolved from emo pop darlings into a pop rock powerhouse without ever losing sight of who they are or tossing their fan base to the wayside.

Even though “Ain’t It Fun” served as last year’s song of the summer, the crowd still explodes for “Misery Business”, Paramore’s breakthrough single from 2007. This isn’t a fly-by-night audience – it’s a group of longtime fans who love the band’s old standards just as much as their newfound radio hits. You get the feeling they’re on board for wherever Paramore’s journey takes them.

***

“Writing the Future” is just as much about saying goodbye to the past as it is embracing what comes next. Paramore is set to begin writing their fifth full-length album sometime later this year with a possible 2016 release. Somehow, they’ve weathered the storm of passing trends that swept many of their early peers away. They’ve remained relevant by pushing boundaries and refusing to apologize for who they are, regardless of the bumps in the road.

Regardless of what comes next, it seems almost pre-destined that Paramore will deliver. Hard work, coupled with an immense amount of songwriting talent has taken the band a long way, but it still feels like there’s plenty of room left to grow. After all, they’re still young and still full of fight. At this point, it’s harder and harder to imagine a world without them.

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.

Vinyl Spotlight: Copeland – Beneath Medicine Tree

Beneath_Medicine_Tree

Every so often, our resident vinyl lover, Kiel Hauck, takes the time to talk about a recent vinyl release and gives a breakdown about everything from packaging to sound quality. Here’s his latest installment.

In the recent flurry of Copeland re-presses, perhaps the most anticipated was the band’s debut – Beneath Medicine Tree. Shop Radio Cast handled pressings of In Motion and You Are My Sunshine last year, along with Eat, Sleep, Repeat in 2013. While all of these were highly anticipated and handled with care, SRC vinyl’s pressing of Beneath Medicine Tree takes the cake.

The Florida indie rock act made their return with last year’s Ixora and are currently out on the road with Paramore. For a band that appeared to be gone for good, this sudden resurgence has been fun to watch. Nevertheless, Copeland’s 2003 debut still holds a special place in my heart, making this re-pressing a chance to grab one of my all time favorite records. Let’s take a look.

Packaging and Presentation

The artwork for Beneath Medicine Tree has always been unique and beautiful. This pressing captures everything that made it so special. The sleeve opens to a gatefold, featuring hand drawn medical images over green-tinted hospital photography. A booklet inside the record has a thin overlay of the drawings that sits atop the glossy photos. Inside the booklet are song lyrics and liner notes.

The album is pressed on two 180-gram coke bottle clear records that look sharp and reflect the overall color scheme of the artwork. This particular variant was limited to 500 copies, but another pressing of 1,500 copies on clear vinyl with black smoke was also made. The records themselves feature the hand drawn images in the center. The only drawback here is that the records aren’t clearly marked – I had to look for a few minutes before finding side A. Regardless, the overall presentation here is stellar.

Sound and Quality.

As I mentioned earlier, I love this album. Thus, I was pleased at how spectacular it sounds on this pressing. The record captures the raw, indie rock feel of the original recordings, but the songs sound even bolder than I expected. From the opening pianos of “Brighter” to the crunchy guitars of “Walking Downtown”, each track sounds distinct, with each instrument shining through at different moments.

The bassline on “When Paula Sparks” sounds rich, and Aaron Marsh’s vocals sound beautiful. Part of what makes Beneath Medicine Tree so special to me is Marsh’s vocal work – not yet over-produced, but sounding honest and authentic. It sounds fantastic here, especially over the upbeat keyboard line on “She Changes Your Mind” and on the delicate moments during “California”.

Shop Radio Cast has come through again with this beautiful and wonderful sounding pressing of Beneath Medicine Tree. Now that Copeland’s catalogue has been completely re-pressed, fans have to feel great about having access to each record, especially when they were each handled so uniquely. Each album seems to have its own personality, which comes through in the packaging and presentation of these records. If you haven’t picked one up – there’s still time. You can get your copy here.

beneath_medicine_tree_vinyl

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.

Copeland Announce New Spring Tour Dates

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Copeland is gearing up for the Writing the Future tour with Paramore this spring, but it looks like the band has some more shows up their sleeve. Yesterday, the band announced a sprinkling of headlining dates in April and May. Copeland reunited last year to release their fifth full length album, Ixora. Check out the new dates below:

Apr 29 – Jacksonville, FL (1904)
May 07 – Long Island, NY (Emporium)
May 15 – Little Rock, AR (Juanita’s)
May 16 – St. Louis, MO (The Ready Room)
May 26 – Seattle, WA (Neumos)
May 28 – Salt Lake City, UT (Urban Lounge)
May 29 – Denver, CO (Summit Theater)
May 30 – Omaha, NE (The Waiting Room)
May 31 – Lawrence, KS (The Granada Theatre)

Tickets for these shows go on sale Friday.

Posted by Kiel Hauck

Vinyl Spotlight: Copeland – Ixora

ixora

Every so often, our resident vinyl lover, Kiel Hauck, takes the time to talk about a recent vinyl release and gives a breakdown about everything from packaging to sound quality. Here’s his latest installment.

Copeland fans have had a lot to crow about since last April’s announcement that the band was reuniting to release their fifth full-length album. On the day of the news, thousands of Copeland fans rushed to preorder vinyl copies of Ixora with the promise that the record would be ready by the fall. While the album was released on time, the vinyl copies were held up due to a manufacturing error that required a complete repressing.

At the end of January, good news finally came – the vinyl copies were ready and would begin shipping immediately. Now that we have them in hand, the question is, was it worth the wait? Let’s take a look.

Packaging and Presentation

As with most Copeland releases, the album artwork is gorgeous. The simple shots of ocean were taken by Anberlin’s Nate Young, and they’re quite peaceful – much like the album itself. This release is a gatefold with an insert, which serves as the inner sleeve. The record opens into a view of more ocean with some liner notes and a superimposed ixora flower. Overall, the package is lightweight and easy to handle. The inner record sleeve features song lyrics in the album title font.

A few options of color were given for this pressing: 3,000 white, 3,000 black and 300 blue with white splatter. I received a blue copy, and the vinyl itself is quite pretty. While this particular color isn’t 180 gram, it does have a wonderful white starburst effect on the soft blue record. In short, it’s fun to look at and matches up with the album artwork quite nicely. There’s no download card – a digital download of the album was sent upon Ixora’s release.

Sound and Quality 

The manufacturing defect reportedly had to due with the pressing’s sound quality and left the band unwilling to ship it to their fans. There have been a few reports of minor scratches or even high-pitched background noise on certain variants of this pressing, but I’m pleased to report that I was unable to detect a defect on my copy. In fact, the album plays extremely smooth – I found the sound to be more full and rich on this pressing than I had experienced via the mp3 files.

The bass surprised me the most. While I hadn’t noticed it as much when streaming the album, it sounds deep here and melts into the overall mix. I first noticed this on the quiet and gentle “I Can Make You Feel Young Again” – a song that takes full advantage of Aaron Marsh’s otherworldy vocals and blends them against a backdrop of keys, soft guitar tones and a rich bassline. Because each track on this album is so unique, it’s exciting to hear how each presents itself on this vinyl release.

I was already a huge fan of Ixora, but hearing it on vinyl has captured me even more. This band can do no wrong, and even with a lengthy delay, Ixora is a must-own vinyl release for Copeland fans. I own each Copeland record released thus far, and I have to say that this is my favorite pressing in terms of sound, with 2013’s Eat, Sleep, Repeat pressing coming in a close second.

Last year saw re-presses of You Are My Sunshine and In Motion and this spring will bring the re-pressing of Beneath Medicine Tree (of which there are still a few preorder copies available). Ixora is sold out for now, but if you run across a copy, don’t hesitate to snatch it up.

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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.

Paramore Announce “Writing the Future” Tour with Copeland

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This spring, Paramore will be heading out on the “Writing the Future” tour with Copeland to bring their self-titled album cycle to a close. The tour is being promoted as an “intimate evening of music” and pairs Paramore with Copeland, who took them on tour as an opening act back in 2005 after the release of the band’s debut, All We Know is Falling. You see the tour dates and read a message from the band below:

It feels right to bring the Self-Titled era to a close. We’ve had a very personal and hugely triumphant journey with this one. What wouldn’t feel right is saying goodbye to this time in the band’s career and not celebrating it with our fans in some special way. So we’ve decided to do one last little run with it. Smaller shows, beautiful theaters…and we’re not calling it a tour, by the way. Each night will be a little event, or as we said just a few seconds ago, a celebration. As we acknowledge the past few years (and more) of everything we’ve been through together, we’re also looking forward together at all there is to come.

Another way we want to celebrate our journey thus far, is to bring out a band who helped us in our most humble, playing 500 beats faster than we should, terrible hair, beginning. We might’ve never gained any traction on the road had they not allowed us on their tour almost exactly 10 years ago. So if you’re coming to one of these shows make sure to get there early for Copeland.

Lastly, thank you to anyone and everyone who made this album a milestone in Paramore’s career and in each of our lives. We started this journey 3 years ago, desperate for any sort of future at all! Now we are standing taller, more confident, knowing that we are the ones who write our own future. This means you too.

Hayley, Jeremy & Taylor

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Posted by Kiel Hauck