Watch The Wonder Years’ New Music Video for “Cardinals”


After the announcement of their new album No Closer to Heaven, The Wonder Years have released the first single from the record in the form of a music video. “Cardinals” finds the band as aggressive sounding as ever on this explosive track. You can watch the video below:

If you like what you hear, you can preorder No Closer to Heaven, which is due out on September 4 via Hopeless Records. When you preorder, the band will donate to one of four different charities.

What are your thoughts on the new song? Share in the replies!

Posted by Kiel Hauck

The Wonder Years to Release “No Closer to Heaven” on September 4


It’s official! Pop punk outfit The Wonder Years have announced via Instagram that they will release their fourth full length album titled No Closer to Heaven on September 4 via Hopeless Records. The album is a follow-up to 2013’s lauded release, The Greatest Generation. Check out the album artwork and track listing below:

Screen Shot 2015-06-29 at 12.12.09 PMTrack listing:

01. Brothers &
02. Cardinals
03. A Song for Patsy Cline
04. I Don’t Like Who I Was Then
05. Cigarettes & Saints
06. The Bluest Things on Earth
07. A Song for Ernest Hemingway
08. Thanks for the Ride
09. Stained Glass Ceilings (feat. Jason Aalon Butler)
10. I Wanted So Badly to be Brave
11. You in January
12. Palm Reader
13. No Closer to Heaven

A new single will be released tonight at midnight, along with pre-order options for the album. The band is currently spending their summer on the Vans Warped Tour. Share your excitement for the new album in the replies!

Posted by Kiel Hauck

Five Year Retrospective: The Wonder Years – The Upsides


I hated the prick on the album cover at first glance – this guy wore a shirt similar to what I was wearing and smiled awkwardly as though attempting to apologize for a fight I’d personally had with him. The cardboard sign reading “The Upsides” taunted me for how miserable I felt. I stood seething in a Hot Topic, looking down at this album sitting alone in a grim selection of CDs and salty rubber wrist bands. I bought it just to spite him.

It’s one of the best decisions I’ve ever made.

It’s hard to believe that The Wonder Years weren’t a part of my life, much less one of the leading voices of pop punk in January 2010. I’d listened to their debut album Get Stoked On It! a year before and had been very “eh” towards it. I popped the CD into my car hoping for mediocre punk rock to distract me for forty-five minutes from how utterly miserable I felt every day. Instead, I didn’t even get out of the parking lot before the opening line sent a stopped me literally in my tracks, cliché as that may be.

The first and last sentence uttered on the record is one of the most genuine punk rock ideas in all of music; “I’m not sad anymore”. It’s simple, elegant and such a sheer war cry to fight back against whatever may be burdening your life. Everything on the album revolves around this idea.

The linear notes state that the original concept when the record was being written was to write about the depression the band felt and the suffocation of feeling down and out in your early twenties, something that most people experience. However, the way that it often happens, it’s something small that usually reminds you that this type of angst just isn’t that bad and it will eventually get better; in this case, the fountain in Philly’s Logan Circle being turned on.

“I’m not sad anymore” changed the pop punk genre as a whole. Other bands in the scene more or less wrote about the same punk issues (lost the girl, attempt to win the girl, depression and drugs), or had begun inspirational easycore (Set Your Goals, Four Year Strong), but the attitude was still that the music needed to be rowdy enough to break some beer bottles. The Upsides based itself in loud pop punk that allowed itself to ease and flow as the lyrical content needed, something that gave the lyrics the energy to be fight back against the world and soften enough to have translatable meaning.

The Upsides is a story about understanding and overcoming when you feel out of place in the world around you. College angst, the paralyzing loneliness as your closest friends move away or settle into their lives, the upheaval of relationships and trying to remember what home felt like. Songs like “This Party Sucks” and “It’s never Sunny In South Philadelphia” base themselves in depression, especially with lyrics like, “We stopped standing proud a year ago now / What you see is just a shell of who I used to be / I can’t believe I got this weak”. However, the context of this type of darkness is just a back story that helps lead to finding your bottom and pulling yourself up.

The connection that this album made to listeners is that it felt real. The term gets thrown around with a lot of music these days, but it’s a concept that has come to be one of the staples to TWY’s music, and this was the first time it had started to bud from them. The lyrics read like a novel in the way that it mentioned ‘characters’ (Dave and Spiro), everyday experiences like “talking shit in diners” and “sitting on the roof with Matt and Molly”. Tangible locations like Logan Circle, or inside jokes (“the Blue Man Group won’t cure depression”) became a focal point to ground the story. These concepts, in their simplicity alone, are based on real memories and interactions that everyone has had.

The Upsides is a therapeutic concept album for sure, until you realize that it’s really not meant to be. It’s just an album written by some guys who aren’t trying to be more than just that – friends trying to get a band off the ground while maintaining their sanity. Vocalist Dan Campbell wasn’t the best singer at this stage of his career, and further away from how good he would become than might be comfortable. He’s loud and often times off-key, but it only makes him sound more genuine.

As if that weren’t enough, the music is incredible. The chord progressions and riffs are unique in that you can tell how much they’d learned about writing music since the release of Get Stoked On It!, but were just beginning to harness the energy and talent for the writing of Suburbia I’ve Given You All and The Greatest Generation. While pop seemed to overpower the punk side of it, the songs were ravenously loud behind such words of encouragement instead of shouted rebellion.

The closer, “All My Friends Are In Bar Bands” is savagely simple, but one of the most profound songs the band has written. After nearly an hour to singing about trying to stave off depression and fight back against a world that wants to take you down, the final piece just wonders aloud what all of their friends are doing at home and runs down a list of names. During one verse, Campbell sings a line that hit me as a universal truth to start on the road to overcoming sadness: “I’ve spent twenty-two years just wading through bullshit, and hey, it’s worked so far / I don’t know why I’m here but I know who my friends are”.

The Upsides isn’t the best Wonder Years album. Its imperfect in many ways and even somewhat sloppy in execution, but it’s a genuine rebellion against giving up that nothing else can even come close to. They’ve grown exponentially as a band since its release, but everything since then (Suburbia I’ve Given You All and The Greatest Generation) has stemmed directly from this, written as a retrospective trilogy and references to the songs from this album spread throughout. The Upsides was the exact album needed for the beginning of a new decade that started in the slumps.

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 seen Wonder Years almost every time they’ve been near the city for the last few years. He is an obsessive maniac who hasn’t been able to go a week without listening to one of their albums since The Upsides reinspired his love for music half a decade ago.

Most Anticipated of 2015: #1 The Wonder Years


UPDATE: A new album, No Closer to Heaven, is coming September 4!

If I need to explain why The Wonders Years make the top spot, you haven’t been paying attention. Although the band is roughly ten years old, they more or less burst onto the scene out of nowhere five years ago with the release of The Upsides and have done nothing but redefine what a pop punk band can do ever since.

In theory, The Wonder Years are as simple as can be; they turn the guitars loud and blast away a punk song with a catchy chorus. In practice, each consecutive release ups the ante and nearly dwarfs the album before it. The writing gets tighter and heavier, and the lyrics deeper and broken down to the essential parts of the human experience. Somehow, the concepts of each album relate to what has come before it, making their past discography more relevant as it helps build on each new song.

The Wonder Years are a story that is ever growing. Their last three albums have been retrospectively grouped as a trilogy about growing up. Each album has multiple call backs to the records before it, be it the characters, the locations or the melodies and lyrics. Where their new album goes is a difficult question to answer: since it sits outside of the trilogy we’ve known up ’till now it may be something completely new that we haven’t heard from the band before. But that’s nothing to be wary of; they’re constantly pushing themselves into new territory.

However, the spat of side projects from the various members (Aaron West and the Roaring Twenties, Why Bother?) over the last couple of years have let the band experiment in new territory that may or may not make its way to their core sound. Aaron West in particular was an exorcise in lyricism and storytelling that overshadows nearly everything else in its genre. From what I can tell, the band lives off of trying to top themselves with each release to make pop punk into a refined art form. Regardless, being TWY, all signs point to the album being loud, aggressive and catchy as all hell.

It’s going to be a big year. A new album is almost guaranteed, especially since The Greatest Generation was released almost two years ago and the band are already signed for another full run of this year’s Warped Tour. Maybe I give them too much credit, but the band has been at the forefront of the pop punk rebirth in the 2010’s without even flinching. Even if the album is a bomb, the band is an inspiration of hard work and ferocious integrity that anyone can and should look up to.

“It’s gonna be our year, boys”.

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 seen Wonder Years almost every time they’ve been near the city for the last few years. He is an obsessive maniac who hasn’t been able to go a week without listening to one of their albums since The Upsides reinspired his love for music half a decade ago.

Review: Aaron West and The Roaring Twenties – We Don’t Have Each Other


Given how well respected Dan ‘Soupy’ Campbell and the rest of The Wonder Years are within the scene, it’s only natural that the front man’s debut solo album, under the pseudonym Aaron West and the Roaring Twenties, highlights what helped make the band so memorable in the first place – the incredibly real lyricism.

We Don’t Have Each Other is an intense lesson in storytelling, backed by a stripped down version of the punk song writing of TWY. While it’s by no means a groundbreaking solo album, it cements the fact that Campbell is the single most prolific writer in the scene. Taking on the persona of a fictional character, Aaron West, Campbell sings aloud a novel set to music that won’t drown out the story.

Aaron West relishes in the minimalist aspect of music; simple melodies are used as a basic tool to give traction to the lyrics. Though acoustically based, an assortment of other instruments help add some much needed layers to the songs to help them feel fleshed out. “Divorce and the American South”, includes a soft, short melody that strums nakedly for four and a half minutes, accompanied only by a muted trumpet in the last few seconds as Aaron mocks himself for how much he misses his wife, lamenting that she wouldn’t even attend his funeral in his own dreams.

The opening track, “Our Apartment” feels the most complete composition on the album, with the acoustic guitar accompanied by a banjo, drums, harmonica, violin and quite possibly a few other things across a bouncy southern-tinged melody. Light hints of country find their way into the album with the steel guitar (or whatever the hell that thing is) acting as a light rhythm. For anyone who has listened to I Can Make a Mess (especially the earlier albums), you can tell Ace Enders’ production by the sound of the electric guitar that accompanies some of the choruses, including “St. Joe Keeps Us Safe”.

The muted trumpet and electric guitar appear infrequently, and usually as background or bass to the acoustic melodies. But the minimal use only helps to amplify the chorus, such as the sax playing bass to the chorus of “You Ain’t No Saint”. Though they seem like they could be out of place, their minimal usage helps Aaron West feel intimate, personal and self-contained. Paired with the lyrics, the extra instrumentation almost manifests the dire feelings and situations that Aaron finds himself in.

The double edged sword for the stripped down acoustic theme is that songs can begin to feel stagnant after a while. On the other hand, anything more elaborate would distract from the lyrics.

We Don’t Have Each Other is an incredibly dense story. Campbell has written a masterpiece of tragedy about Aaron West, a twenty-something year old attempting to cope with a divorce from his wife Diane, brought about by the personal collapse he experienced due to the death of his dad and then the death of the couple’s (unborn?) baby. The whole saga follows Aaron through the darkest of his demons, as he reflects on what led to the divorce, how everything changed with his dad’s death and his new struggle with religion and faith.

Campbell has utterly outdone himself with his storytelling, making Aaron and the situations he finds himself in feel so utterly real it’s almost unbearable. From the outset, against the twang of a banjo of “Our Apartment”, Campbell sets up the disastrous divorce, singing, “I found enough of your hairpins to build you a monument, a statue of loneliness. Breathe it in, let it go. I caved a piece of the drywall in, replaying the argument”.

The struggle with religion comes up from time to time, from talking to God for the first time after the divorce in “Grapefruit” (“Hey, Holy Ghost, why’d you leave me? Where’d you go? I know we ain’t spoke in so long, but I’ve gotta know if I’m alone”) to feeling betrayed as he drives himself further into an alcoholic stupor in “Get Me Out of Here Alive” (“I’m starting to believe that there’s a God and he hates me. I’m starting to believe that my mom lied about grace and divinity”). Religion, along with the idea of driving South to Georgia, is part of the signature lyrical callback that we’ve grown to expect from Campbell through The Wonder Years’ entire discography.

What’s amazing is watching Aaron sink so damn deep, and then get violently pulled back to reality by the simplest things. While he questions feeling abandoned by God in “Grapefruit”, Aaron decides to start drinking. “Yeah, I’ll be the town drunk. I’ll be a burden to everyone”. However, in the darkest hours, he sees himself for what he is through the incredible lines of “The Thunderbird Inn”, where Campbell sings, “I drank my last paycheck dry, and outside a homeless man asks me for change and I, I look him straight in his eyes. He starts to apologize”, before screaming a strangled chorus of, “I didn’t know that I looked that pathetic”!

Aaron West and the Roaring Twenties is an exercise in craftsmanship. While the musical end of the album isn’t anything particularly original, it serves its purpose as a catchy catalyst. The real show here is the storyline. It’s profoundly dark, destructive and agonizingly uplifting. There may be other albums revolving around these themes, but nothing as straight forward or intense.

We Don’t Have Each Other is quite possibly the best written concept record out there, and cements Dan Campbell as the most prolific lyricist of his generation. I honestly cannot wait to hear the next chapter of Aaron West’s life (if there is one), and absolutely fear it at the same time, which is a testament as to how powerful his story really is.


by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and yells at the rain on occasion. He also wants to play you in FIFA.