10 Classic Music Videos Turning 10 in 2021

March 8, 2021 by Leave a Comment

Welcome to year seven of my dumbest annual list. Honestly, this list usually happens during that stir crazy part of winter, just before the dawn of spring. I get drunk on a weekend, fire up YouTube, watch a bunch of music videos, and write about the experience. Unfortunately, the past year has provided WAY too much time for me to sit inside, drink too much, and watch things on my TV. It’s sad, really.

But hey, why not make the best of it? There were some really great videos from 2011 that I’d totally forgotten about. It was a year of transition in my life, marked by leaving some difficult things behind and moving forward to some really great things. Thus, I have a lot of fond memories associated with the music videos below. I hope you’ll enjoy them. And please share your favorites in the replies!

Eisley – “Smarter”

The Valley arrived four years after Eisley’s sophomore album Combinations but was very much worth the wait. On lead single “Smarter”, Sherri Dupree-Bemis finds herself leaving her own funeral to return to her waiting family/bandmates in an abandoned church while singing lines like, “If I sound angry, I’m sorry / This body can only cry for so long / And if you want to blame me, then go on / I’m smiling now ‘cause I’m smarter than you think”. It’s an angry, poignant, determined return for a band that had been through the ringer in more ways than one.

Yellowcard – “Hang You Up”

“Hang You Up” is such a great video because it’s a lovely song and the video could’ve been played straightforward, but instead, they leaned into comedy. Here, Yellowcard vocalist Ryan Key wanders the street before entering his job at a fast food restaurant, annoying strangers and patrons along the way with his singing. Top moments include a woman in the parking lot threatening, “I swear to god, if you open your mouth and start singing a pre-chorus…” and drummer LP handing Ryan his signature black leather jacket.

Blessthefall – “Promised Ones”

Look, I’m an unabashed blessthefall fan and there’s no way this video wasn’t making the cut. It combines the intro/opening track from Awakening into one video, which is cool, and it’s set in some sort of post-apocalyptic world or something? I think? I dunno. There are a lot of fired up blessthefall fans that are all dirty and they’re running, driving, and throwing molotov cocktails, baby. And I don’t blame them. That breakdown at 3:50 fucking RIPS.

Childish Gambino – “Heartbeat”

The ascent of Donald Glover into a cultural force happened fast and it’s still incredible to think about how it happened. From a musical perspective, a lot of the forward movement began with his debut album Camp, which features this gem. The video for “Heartbeat” includes two very cool things. 1. A bag of Flamin’ Hot Cheetos. 2. A really cool analogy about a slippery, messy relationship told through the very clear image of who’s in the driver’s seat.

Christina Perri – “Jar of Hearts”

I met my wife in the summer of 2011 and she was so into this song. And I got hooked, too. The video is one of those cool things where the color and choreography match the cold, dark feeling of the song in a way that’s just perfect. Perri’s raging bridge to the song is captured perfectly in the mid-street dance between the shitty dude character and the women that he seeks (and fails) to control.

Jay-Z and Kanye West – “Otis”

I just see this video and I’m taken back to the summer of 2011, which was a very good one for me. It was a celebration, just like this video. It reminds me of a time when we could get together and party. It reminds me of a time when Jay-Z and Kanye were like best buds and Kanye hadn’t made me sad. It reminds me of what a victory lap Watch the Throne was for hip hop and how good that felt. It just reminds me of good times, and that’s something I need right now.

The Wonder Years – “Came Out Swinging”

SPEAKING OF THE SUMMER OF 2011. This song is just a damn rager and a touchstone of when pop punk began its renaissance moment. The shots of The Wonder Years playing in that weird basement just says everything about that moment. It’s also a reminder that there was like a year where every scene band had light bulbs hanging in their video. But this was probably the best version of it because there’s like 20 bulbs and we all know that more bulbs = better.

Adele – “Rolling in the Deep”

It’s crazy how certain years in music are simply defined by the question, “Did Adele release an album that year?” And if the answer is yes, you kinda know what the conversation was about that year. And 21 dropping in 2011 was probably the biggest one. This song was fucking everywhere and the video is one of those kitchen sink videos. It has everything. A dude dancing with a sword, dishes smashing against a wall, a floor full of water glasses that ripple to the music, and Adele sitting on a chair. What more could you ask for?

Chiodos – “Notes in Constellations”

Ready for a really hot take? “Notes in Constellations” is the best Chiodos song. Yeah, you heard me. And the video makes it even better. It looks like it cost a lot, too. The video matches the song’s narrative about the passing of a loved one, with the bereaved carrying on with all of the memories. Brandon Bolmer’s voice is angelic on this track and he’s hot as hell in the video. Yeah, you heard me. Did I repeatedly watch this video at 2 a.m. in my apartment whilst crying many a night back in 2011? That’s none of your business, mister.

Katy Perry – “Last Friday Night (T.G.I.F.)”

There’s no way this video wasn’t making this list. It’s either the most notable or second most notable video of 2011, depending on how you feel about Rebecca Black’s “Friday”. But guess what. Just four months after that crazy Rebecca Black moment, Katy Perry GOT HER IN THIS VIDEO THAT IS ALSO ABOUT FRIDAY. I mean, damn. And then you’ve got Kenny G playing the sax solo on the roof at a house party. It’s all so dumb and crazy and silly, but this is kind of a moment that said, “Hey, if you’re gonna release a music video and have it actually matter, you have to do something big.” And that’s what Katy Perry did in the summer of 2011.

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 pop culture outlets and was previously an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife, daughter, and their imaginary pet, Hand Dog. You can follow him on Twitter.

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In Defense of Anniversary Tribute Albums

April 8, 2020 by Leave a Comment

In the last few years, there has been a flood of “reimagined” versions of classic albums and songs. Some might see this as a waste, since it’s not technically new material. But in recent years, the ante has been upped in many ways beyond a basic acoustic cover. Acoustic versions of songs are always a welcome addition to a band’s catalog, but complete re-recordings offer a chance to reevaluate the journey, and analyze not only why the album meant so much in the first place, but also how the listeners and the bands have matured in the years between.

The Wonder Years were the first band to really catch my attention with reimagined versions of their songs. Burst & Decay Vol. I slowed down tempos, revitalized the lyrics of songs like “Don’t Let Me Cave In” to be conversational and somber reflections. “Cardinals”, a song already heavy in terms of regrets over a failed friendship, becomes even more burdensome when every single lyric has time to resonate. Though the reimagined versions of songs never quite match the scale or eccentric hype of the original, the new attention serves as a reminder for why these songs resonated so well with fans.

All Time Low’s It’s Still Nothing Personal tribute album may be the best example of a re-recorded release. Nothing Personal helped cement All Time Low as a permanent fixture in the scene. In the decade since, their sound has morphed to the point that it’s hard to see them as the motley crew standing on the stage of the “Weightless” music video in a small club anymore. This updated version of Nothing Personal hardly surpasses the original, but it shows listeners just how starkly the band has grown since then. 

Singer Alex Gaskarth’s voice is much more rich and mature, compared to the autotuned vocals of the original release. The guitars are more relaxed, and the production tighter. The addition of harsh vocals during “Lost In Stereo” changes the dynamic of the song when compared to the poppier lyrics. It’s also a stark reminder of the chances the band are willing to take that never would have appeared on earlier albums. The addition is minimal, but it’s a curve that makes the song instantly different, especially when paired with the vocal twists of Gaskarth. Even the closing track “Therapy” benefits from the restraint of the full band.

We the Kings’ Self Titled Nostalgia does the same by removing the guitars entirely and rewriting every song as a piano-driven, semi-electronica experiment. Though the original songs were seminal pop songs of their era, these reworked versions sound less like emo-pop songs and more like the soothing anthems of romance that they were always meant to be. 

In contrast, Asian Kung-Fu Generation’s Sol-fa 2016 is strikingly similar to the Sol-fa album released in 2004. AKFG, one of Japan’s most famous rock bands, are well known in the States for “Rewrite,” one of the opening songs to the original “Fullmetal Alchemist” anime. The version on 2016’s release features singer Masafumi Gotoh’s with slightly more matured vocals, and the instrumentation tighter and closer to the sound the band plays during live shows. “Re:Re:” includes a new instrumental opening that vastly improves the song, as live show performances had proven for over a decade. 

These types of anniversary albums feel different from other reworked albums, such as Eisley’s I’m Only Dreaming and I’m Only Dreaming… Of Days Long Past. Part of this is due to both albums being released so close together. A decade between re-workings gives space to appreciate the alternate versions of songs, whereas these albums feel more akin to two halves of the same piece. 

This is the case as well for Dashboard Confessional’s Alter The Ending, which released a full band and acoustic album together. These types of albums are extremely welcome, and gives the artist the opportunity to stretch and not feel restrained when the sound they hear is so much wider than a single song. However, it still doesn’t hold the same affection to something like Yellowcard’s Ocean Avenue Acoustic, which was in part a celebration of the band’s reformation.

It’s hard to say that any band has fully found the best way to honor a fan-favorite album, but re-recording them with 10 extra years of experience, insight and creativity is something that more bands should embrace. It’s a way to show appreciation to the fans that have stuck around for so long. It also allows bands the opportunity to show how much they’ve grown when tasked to rewrite the songs they created as kids.

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 doesn’t understand why the birds won’t come to his window to say hello. It’s just a new birdhouse! There’s still seed, so why won’t this HOARDE OF SPARROWS lay siege to the windows once more?! Cowardly birds!

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Podcast: The Best of Eisley

July 29, 2019 by 5 Comments

Over the past decade and a half, Tyler, Texas, band Eisley have made a habit of releasing delightful, poignant, purposeful indie pop. On this episode of It’s All Dead, Kiel Hauck and Nadia Paiva break down the band’s discography, ranking all five full-length albums, from Room Noises to I’m Only Dreaming. They also share their top 10 songs and discuss the band’s wild ride from their early major label breakthrough to their return to their indie roots. Listen in!

Subscribe to our podcast here.

What’s your favorite Eisley album? Share in the replies!

Posted by Kiel Hauck

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Perma Return with New Album “Fight Fair”

April 10, 2019 by Leave a Comment

I have a friend named Zac who is a musical genius. Anything he touches in the music world becomes incredible. Instruments, songwriting, composition. The dude literally has talent in every aspect of music – except vocally, which isn’t to put him down, because he’ll literally be the first to mention it. But he married a woman who is a vocal mastermind. Everything they work on together is infinitely better than it would be if they were separate. All this is to say that my other favorite musical couple, as well as people who share this same relationship to music, Max and Sherri Bemis, have just released their second album under the name Perma.

You can stream Fight Fair on Spotify.

Perma released their first album, Two of a Crime, in 2013. If you’ve been paying attention to Max this year, you’ll know that he laid Say Anything to rest and is focusing on other aspects of the creative world, specifically writing comics. Sherri is still continuing with Eisley, as well as being an artist, wife and mom to their three kids. (She’s also a hero of mine.)

They released their latest album, Fight Fair on their 10th anniversary, which basically just solidified even more how much admiration I have for this couple. They’re very open about their life, and to watch them make it through the ups and downs and still have so much love and passion and respect for each other is beautiful.

Fight Fair is no Two of a Crime by any means. Since 2013, Max and Sherri have had two more kids, and released five albums between both of their respective bands. The album tells a story of a marriage that has aged. It’s aged like fine wine, of course, but the album sounds significantly more mature than Two of a Crime does. There’s a lot more grit and agression to be heard. It’s aptly named because even though they fight with each other and things aren’t perfect, they still fight for each other every day.

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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Review: Eisley – I’m Only Dreaming…Of Days Long Past

July 18, 2018 by Leave a Comment

I have an ever-growing list of favorite bands. In 2011, I found a group from Texas called Eisley and they quickly became the newest addition. The Valley continues to be a spring staple for me, and I’ve often thought to myself that there’s an Eisley album for every season.

I greatly anticipated and thoroughly enjoyed 2017’s I’m Only Dreaming. When Sherri Dupree-Bemis announced the re-release in May I was equally excited. I’m used to long waits for new albums, so the fact that there have been two Eisley releases in two years makes me happy.

You can buy I’m Only Dreaming…Of Days Long Past on Apple Music.

I’m Only Dreaming…Of Days Long Past is what the band themselves have dubbed “a collection of acoustic and re-depicted versions” of I’m Only Dreaming. The catch is that it’s only Sherri and Garron Dupree. Somehow, though, missing the rest of the band, the two family members have managed to create an even more ethereal rendition of what was already (like most of their past albums) an album straight from a fairytale.

While I’m not really sure what originally drew me to Eisley, their storybook atmosphere is what keeps me listening. Sherri’s vocals, combined with the synth they’ve adopted, create a beautiful soundscape that’s meant to be rested in. Where I’m Only Dreaming is effortless, I’m Only Dreaming…Of Days Long Past brings “effortless” to a new level. The barely-there pianos and softened harmonies are blended perfectly.

Let’s get into some specific tracks. Like the original album, I don’t really have a favorite song on this release. I was partial to “You Are Mine” (more on that track later) when it was released as a single, and the rest of the album didn’t disappoint. Eisley has mastered the less is more approach, both sonically and logistically. Their albums are never too long or heavy from a thematic standpoint and that makes them a standard in my car’s CD player. Any of the tracks hit the spot for me at any given time.

The two tracks I was most anticipating were “Louder Than a Lion” and “You Are Mine.” These are two of the most dynamic tracks in the Eisley song bank, in my opinion, and I was excited to see whether they’d keep the changes going or whether they’d scale them back. The former track has been stripped down in the best way. They don’t lose the haunting atmosphere, and, quite honestly, slowing it down and focusing on the vocal level has actually upped the eerie feeling I got from both the track when it was first released.

“You Are Mine” is right after “Louder Than a Lion” track-listing-wise. I also appreciated the paring down of this song, though not quite as much. I don’t want to say that I was disappointed, because I had no idea what to expect, but for what is such an explosive song and perfect single, I think it’s very similar to other tracks on the album in almost an afterthought way.

Where “You Are Mine” fell a little short, “When You Fall” soars. They say that the things you talk about the most show your priorities. There’s no secret that Sherri and Max love their kids. This song about Sherri’s daughters is no different. The way she delivers the lyrics showcases the intense love and concern she has for her family and that’s what makes “When You Fall” a standout track.

The final track I want to highlight is “Brightest Fire”. This was an instant standout for me on the first iteration of the album, and the same could be said here. Sherri’s instrument of choice here is stacked harmonies, and as anyone who’s read one of my reviews knows, I’m a firm believer that any song can be improved by throwing some layered vocals into the mix. I simply can’t get enough of this song’s re-release.

As with the original recordings and variations of I’m Only Dreaming, I love this album. It puts the lyrical aspects of Eisley toward the forefront of the listener’s focus and I’m always a huge fan of that. Maybe this is being a little greedy, but I can’t wait to see how Eisley follows up this particularly special chapter in their history. It’s been a big era of change both personally and musically for the band, and I’m interested to see how they’ll channel that fact in releases to come.

4/5

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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10 Songs to Chase Away the Chill of Winter

February 27, 2018 by Leave a Comment

Is it just me, or does it feel like this winter has dragged on and on? It’s actually snowing as I type this. Fortunately, spring is not far away, so in an effort to put up with snow boots and chapped lips, here are some songs I listen to when I think about new flowers and higher temperatures.

1. Coldplay – “Lovers In Japan (Osaka Sun mix)”

This is one of my all-time favorite Coldplay songs. Upbeat and unique, it’s always put me in a good mood. It’s also turning 10 years old this year. I haven’t listened to it in a while, but I still have fond memories of listening to this song through split earbuds with an old friend who was a Coldplay super fan.

2. Florence and the Machine – “Mother”

This is the final track on Florence Welch’s 2015 release How Big, How Blue, How Beautiful. The album focuses a lot on nature references and this is the culmination of it all. It’s impossible to not think of spring and sunny days with lines like, “Make me a big tall tree / So I can shed my leaves and let it blow through me”.

3. Regina Spektor – “Don’t Leave Me (Ne Me Quitte Pas)”

Even though this song mentions winter and the whole idea is to forget that it’s still happening, Regina Spektor’s music always matches up with spring for me. Her melodies are infectious and her lyrics are quirky. I actually prefer the Russian version, but that’s just me. Both are worth a try for an instant pick-me-up.

4. Eisley – “A Song for the Birds”

This is from Eisley’s 2017 album I’m Only Dreaming. Sherri Dupree-Bemis is joined by her husband Max Bemis (of Say Anything) for what may just be the sweetest song Eisley has ever recorded. Max also plays guitar on the track (and others on the album) and as a Say Anything fan it’s totally noticeable…try to see if you can hear the difference.

5. Saint Motel – “You Can Be You”

I saw Saint Motel open up for Panic! At the Disco a year or two ago and they played this song. There wasn’t a person sitting down or looking at their phone during the performance. The drums are strong and they used a cool guitar effect toward the middle. It’s just everything I love in a track. It’s new and exciting, just like spring.

6. Marina and the Diamonds – “Shampain”

I’m a huge fan of whatever Marina Diamandis does. She’s talented and genuine and that’s a combination I love. “Shampain” is from her first album The Family Jewels. Many of her songs poke fun at the norms of pop culture and this song is no different. She takes otherwise cookie-cutter beats and pop music go-to’s and makes a sonic experience all her own. I can’t help but turn up the volume when it comes up in my shuffle.

7. The Myriad – “A Thousand Winters Melting”

One of my favorite little bands only released two albums. Their second album is called With Arrows, With Poise and includes the gem “A Thousand Winters Melting”. What better way to end winter than with this song? I love the piano and there’s just something about this song that brightens up my day. I wish they hadn’t stopped at two albums, but at least they left us with tracks like this.

8. Paramore – “Passionfruit” (Drake Cover)

Paramore is my favorite band, hands down. I’ve listened to their music for as long as I can remember. They covered Drake’s “Passionfruit” for BBC Radio 1, and personally, I think it’s better than the original. I’m obviously biased though. Lyrically, it’s a wicked depressing song, but the way Zac Farro and Taylor York play this song makes me forget about how sad it is.

9. Childish Gambino – “California”

This track from the middle of Grammy-nominated album Awaken, My Love! is fantastic. It’s fun and random and makes me think of long drives with the windows down. It may appear to be a summer song, but I think it works just as well on a spring playlist. I love the vibe it sends out.

10. Harry Styles – “Sweet Creature”

This wonderful song is from Harry Styles’ self-titled album released last year. I love this song because it’s subtle. His voice  is really the focus here and it’s one of the high points on the album. It was a great choice for a radio single and the topic of young love coincides with spring pretty well.

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.

Photo by Lindsey Byrnes

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The Best Albums of 2017

December 4, 2017 by Leave a Comment

You can view our list of The Best Songs of 2017 here.

Another year is in the books, and while it’s easy to dwell on the negatives of one of the strangest years in recent memory, 2017 was certainly not wanting for incredible music. In fact, 2017 produced so many great albums, it’s hard to show end-of-the-year love to all that deserve it. But we’re going to try anyway.

Our list of the best albums of 2017 touched on a variety of powerful and important topics, from social injustice to mental illness to the strength it takes to shift power imbalances and overcome abuse. The artists below not only thoughtfully tackled important themes, but did so in a way that made us move and forced us to find hope in the mist of brokenness. Without further ado, take a look at some of the best albums of the year.

 

15. New Found Glory – Makes Me Sick

When New Found Glory release an album, there is a certain expectation for how it should sound. When they release an album that manages to branch out enough to rank as one of their more unique releases, it is something to pay attention to. Makes Me Sick is a true summer album that delves into cavity inducing pop while maintaining mosh-ready guitars (“Call Me Anti-Social”). The synth that make its way into the album make each song instantly recognizable, especially as the band take stabs at the world around them (“Party on Apocalypse”), and rarely has the band sounded so inspired (“Barbed Wire”). Makes Me Sick is the reason that after 20 years, New Found Glory are still as important as they were when they helped found the modern pop punk scene. – Kyle Schultz

14. Eisley – I’m Only Dreaming

The spirit of Eisley moves onward on I’m Only Dreaming, even in the absence of DuPree sisters Stacy and Chauntelle. In their stead, Sherri DuPree-Bemis carries the vocal load across an array of tracks that harken to the ambiguity and innocence of Room Noises. At once melodically gorgeous and sonically curious, I’m Only Dreaming offers the dream-like soundscape that put Eisley on the map well over a decade ago. DuPree-Bemis floats above her cousin Garron’s shoegaze guitar licks that range from grungier affairs “Louder Than a Lion” to indie pop numbers that stand as some of the band’s best work to date “Always Wrong”. – Kiel Hauck

13. The Early November – Fifteen Years

It’s hard to imagine an acoustic ‘best of’ album being one of the best of the year, but Ace Enders has always defied expectation. Fifteen Years not only finds a way to hit all of the band’s best songs, but in many ways, it surpasses the originals. Enders has always impressed with his acoustic songs, but the stripped-down versions of some of their biggest hits allows his vocals to truly shine like they never have before. What were some of the band’s biggest rock songs (“Decorations”, “In Currents” “Boxing Timelines”) become emotional ballads. It’s apparent that The Early November have spent their career deserving more credit than anyone ever suspected. – KS

12. Palisades – Palisades

Call it a progression, but reinvention works just as well. Palisades’ self-titled release finds the New Jersey post-hardcore act shedding the electronicore leanings they embraced across their first two records. On Palisades, the band finds a new voice within grunge and nu metal elements that serve as the perfect playground for vocalist Louis Miceli Jr. to display his new, commanding delivery. With the absence of party gimmicks, the band is free to cover fresh thematic territory, adding a welcome dose of levity to match their new style. It’s the kind of 180 turn that opens a variety of doors for a band that has a chance to make a splash in the alt rock waters. – KH

11. Neck Deep – The Peace and the Panic

Neck Deep are an endlessly fascinating band. They have managed to harness the best aspects of pop punk and continuously remind us why the genre matters. The guitars are harsh but sway with rich melody that make easycore bands envious. Every song on The Peace and the Panic demands to be sung along to as the band tackles every topic from rebellion against the government (“Don’t Wait”), depression (“The Grand Delusion”), or telling a story of romance (“19 Seventy Sumthin’”). Neck Deep are a shining example of what makes pop punk such a brilliant genre, and they do it with a sound that marches forward as much as it honors the bands of yesteryear. – KS

10. PVRIS – All We Know of Heaven, All We Need of Hell

Shedding any notion of a sophomore slump, PVRIS delivered with their anticipated follow up to White Noise. All We Know of Heaven, All We Need of Hell zeros in on the best parts of the band’s debut and expands on both sonic and thematic levels. Making use of dark synthesizers and deep, grooving basslines, the trio build dread-infused soundscapes that allow Lynn Gunn to explore an array of fears and regrets. Whether she’s powering through anthems like “Heaven” or growling across the chorus of “No Mercy”, Gunn has become one of the most exciting voices in the scene, and PVRIS appears to have the legs to reach the next level. – KH

9. Kesha – Rainbow

To use a most tired cliché, Rainbow is a roller coaster, driving us through the turbulent aftermath of abuse and the will and strength of a survivor. The album is varied and messy, but works beautifully as a therapeutic outlet of the highest order. From the fist-pumping fury of “Woman” to the tear-jerking pleas of “Praying”, Kesha provides a voice for the broken and a song for the redeemed. Amidst tears and laughter Kesha weaves the story of life on the other side and embraces the freedom in letting go. Rainbow is truly the brilliant comeback everyone was rooting for. – KH

8. Lorde – Melodrama

Lorde (Ella Marija Lani Yelich-O’Connor) risked becoming irrelevant by releasing her sophomore album three long years after her debut. “Melodrama”, however, is an absolute masterpiece and refuses to be ignored. This album meets even the highest of expectations that led up to Lorde’s second release. She used the past few years to grow vocally and artistically, and with help from another pop mastermind, Jack Antonoff, Lorde has (once again) completely changed the face of alt-pop. – Nadia Paiva

7. Lucky Boys Confusion – Stormchasers

Coming back from the dead, Lucky Boys Confusion have rarely sounded better. Stormchasers exceeds expectations for a band that hadn’t written a song together for a decade. Biting into the personal tragedies that have plagued the band for the last few years, LBC manage to make some of the most inspired rock songs of their career. “It’s After Midnight” picks up directly off of the sound of their last EP (released in 2006), while “Stormchaser” taps into the sounds of the band’s career to honor fallen band member, Joe Sell.  “Sun In My Eyes” looks towards a brighter future and “Good Luck”, celebrates the band’s past and tells the story of making it as a band. Lucky Boys Confusion is a continuous story of perseverance and honoring a fan base that refuses to quit. – KS

6. Glassjaw – Material Control

Fifteen years have passed since Long Island’s post-hardcore kings released an album, and yet, somehow, Material Control feels like the most Glassjaw record ever put to tape. Material Control is the visceral blend of aggression and melody that put the band on the map nearly two decades ago, yet sounds as fresh as any heavy record released in 2017. The dirty bassline on “Shira” will cause you to break a sweat while Daryl Palumbo’s vocal acrobatics on “Golgotha” will make your jaw drop. Material Control is the kind of relentless record that hard rock desperately needed, and a worthy successor to Worship and Tribute, even if the wait was far too long. – KH

5. Vince Staples – Big Fish Theory

With Big Fish Theory, Vince Staples remains one of the most coy (koi) rappers around (get it?) Across the album’s 12 tracks, Staples wrestles with the fame that has lifted him from his home and threatens to numb him of the pain and struggle that still plagues those around him. Doing it all atop beats that embrace club and house leanings, Staples invites his listeners to dance, even as the themes force you to stop and think. It’s a juxtaposition as profound as the rapper himself, and just another reason why Staples may be one of the most underappreciated artists of our time. – KH

4. AFI – The Blood Album

AFI (The Blood Album) was one of the first records released in 2017 and it is still among the year’s top contenders as the year comes to an end. The Blood Album picks up where the band left things on 2013’s Burials, and pushes forward to make the record one of the best they have ever released. Jade Puget’s dark guitar lines still manage to impress and blaze with the power that other bands require multiple musicians for. Having been the second of three albums that Davey Havok sang for within the span of a year (Blaqk Audio and DREAMCAR), the intensity of his voice is mesmerizing. AFI’s dark pop songs are a masterclass in musicianship. As an amalgamation of everything they have released over the course of a 20+ year career, AFI (The Blood Album) is worthy of being the band’s first self-titled effort, and standing among their best releases. – KS

3. Paramore – After Laughter

Paramore’s long-awaited return came with a release defining some of the most overarching topics plaguing young adults today: mental illness, hopelessness, loneliness, and the idea that we can find the light we’ve lost. Taking a sharp turn from their alternative roots and moving into an ‘80s synth direction, Paramore provided a dose of reality packaged in both fun and reflective ways. We’ve watched Hayley Williams and co. grow up and face some difficult times and, somehow, they’ve always portrayed it gracefully. “After Laughter” is no different. – NP

2. Julien Baker – Turn Out the Lights

On Turn Out the Lights, Julien Baker does more than tug at our heartstrings, she dives deep into the crevices of depression without pulling punches. Whether accompanied by just her guitar or surrounded by organs and strings, Baker’s voice fluctuates from crackling despair to cries of strength, voicing a struggle familiar to many. What makes Baker’s songs so meaningful is her painful honesty – there is no sugarcoating – and when she searches for hope, she does so with every fiber of her being. At the end of the journey, her powerful final cry of ,“I wanted to stay”, is enough to shake any listener to the core. – KH

1. Kendrick Lamar – DAMN.

How do you follow up one of the most heralded and important hip hop releases in recent memory? Like this, apparently. Whereas To Pimp a Butterfly stretched outward into the systematic oppressions of our society, DAMN. worms its way into Kendrick Lamar’s psyche, revealing the inner workings of one of the most important artistic voices of our time. Oscillating between “Pride” and “Humble”, “Love” and “Lust”, “Fear” and “God”, Kendrick fights for truth and hope amidst brokenness.

From the rumbling bassline of “DNA” to the throwback samples and drums of “Duckworth”, Kendrick paints a canvas that opens new possibilities for his own rhyme schemes and vocal delivery. At once timeless and fresh, DAMN. is the new bench mark for modern hip hop. There is little room left for debate: Kendrick Lamar is the best rapper alive. – KH

Honorable Mention

Bleachers – Gone Now
Halsey – Hopeless Fountain Kingdom
Jay-Z – 4:44
Tigers Jaw – Spin
Tyler, The Creator – Flower Boy

Posted by Kiel Hauck

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Podcast: Interview with Garron DuPree of Eisley

March 14, 2017 by Leave a Comment

It’s been one month since indie pop outfit Eisley released I’m Only Dreaming, their fifth full-length album, and now the band is back out on the road. During a recent tour stop in Indianapolis, Eisley bassist Garron DuPree talked with Kiel Hauck about how recent lineup changes impacted the band’s writing process and how he views Eisley’s evolution. Garron also shares the excitement the band felt while working with producer Will Yip and how the band’s new form provides more freedom than ever before. Listen in!

Subscribe to our podcast here.

*This podcast mistakenly refers to Garron as Sherri’s brother. Garron is Sherri’s cousin.

What is your favorite song from Eisley’s new album, I’m Only Dreaming? Share your thoughts in the replies!

Posted by Kiel Hauck

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Review: Eisley – I’m Only Dreaming

February 15, 2017 by Leave a Comment

eisley_blisskatherine-2016-web

Sherri DuPree-Bemis wastes no time dispelling any lingering fears Eisley fans may have had leading up to the band’s new release, I’m Only Dreaming. The album’s opening moments are quintessential Eisley, right down to Sherri’s haunting delivery of, “Whisper my name, I will find you, I will fly”. “Always Wrong” is a track that harkens to the days of Room Noises or Combinations with effortless ease and is a clear, if ironic, sign that all is right in Tyler, Texas.

When it was revealed late last year that Stacy King and Chauntelle D’Agostino would no longer carry on alongside their sister in Eisley, it was easy to raise questions about the band’s future. A large part of what made Eisley such a charming outlier in the indie scene was the distinct delivery and style that each DuPree sister brought to the table.

You can buy I'm Only Dreaming on iTunes.

You can buy I’m Only Dreaming on iTunes.

Thus, it speaks volumes to DuPree-Bemis’ talent and vision that I’m Only Dreaming not only captures the best parts of Eisley throughout the record, but also may very well be the band’s best release.

Each Eisley record seems to carry a particular theme and I’m Only Dreaming is no different. As the title suggests, the album unfolds in dream-like fashion, musing on the complexity of love, the dread of anxiety and insomnia, and the courage to overcome self-doubt. Like so much of the band’s discography, this new album carries a wistful ambiance that courses throughout.

Tracks like “Louder Than a Lion” embody the spirit of Eisley while also serving as a sonic step forward. The song’s electronic underbelly carries raw guitars and the sounds of a weary Sherri acting as a nighttime guardian of her daughters: “Cause I’m louder than a lion / My hands wipe out the ghosts / I’m brighter than a diamond / My light will shine the most”.

I’m Only Dreaming is truly an exercise in diversity, constantly rearranging the building blocks of the signature Eisley sound to create something new. “Snowfall” starts as an eerily delicate and familiar track before the full band breaks through at the two minute mark, highlighted by Sherri’s explosive delivery of, “As we watch the snow fall down, down / I am so far away from you now”.

Alongside these darker offerings, tracks like the light and airy “Sparking” or the alt-country tinged “When You Fall” stand in stark sonic contrast without feeling out of place. Even the poppy, bounding feel of “A Song for the Birds” with husband Max Bemis fits the narrative, with Sherri singing a chorus of, “My love for you, don’t ever doubt / You fill my heart, so sing it out / While we keep moving forwards / This is a song for the birds”.

It’s fair to argue that such an eclectic mix of sounds wouldn’t tie together quite as well without the presence of producer Will Yip, who is quickly becoming one of music’s most exciting minds. You can literally feel his graceful hand in the mix on early singles like “You Are Mine”, which knits together the instruments with surgical precision. Repeated listens with noise-cancelling headphones reveal even greater detail, and prove this to be Eisley’s best-produced album by a comfortable margin.

Sherri and cousin Garron DuPree handle the bulk of the writing duties on Dreaming and, together with Yip, have crafted a superb next chapter for Eisley. On “Defeatist”, Sherri’s repeated closing refrain captures the heart of the record, and perhaps alludes to the strength it took to push past what must have been a painful setback: “As the dust falls down, I usually give up so easily / I let my head hang down before I even see / A truth that’s plain as day, staring back at me / I’m a defeatist but I don’t have to be”.

The fact that we have a new Eisley record in 2017 is cause enough for celebration. That the album might be the band’s best is an absolute triumph.

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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The Spirit of Eisley Perseveres on Latest Tour

September 26, 2016 by Leave a Comment

eisley-2016-splash

There’s no room for Sherri DuPree-Bemis to hide. The stage at the Hi-Fi in Fountain Square, a small artsy district just south of downtown Indianapolis, is small, just like the venue itself, and sits at the front of a tiny room packed shoulder-to-shoulder with onlookers. Unfazed by the mission at hand, the woman now tasked with leading one of indie rock’s most charming bands steps up to the mic and belts out the opening notes of an 18-song set.

Sherri is no stranger to the stage, but recent events have changed the dynamic. Earlier this year, it was announced that Tyler, Texas, outfit Eisley would continue on without two of its founding members (and two of Sherri’s sisters): Stacy King and Chauntelle D’Agostino. In preparation for a fifth full-length album coming in early 2017, Eisley is back on the road in their new formation.

For a band that has relied heavily in the past on whimsical harmonies and team vocal duties from each sister on stage, Eisley has a new feel with Sherri’s edgy delivery taking the spotlight. In an effort to retain the multi-vocal feel of the band, younger sister Christie DuPree now flanks Sherri onstage, providing her own unique twist to the songs.

Before Eisley’s performance, Christie and Remington DuPree took the stage as Merriment, a stripped-down indie pop act that resembles a lighter side of their older siblings’ music. Merriment debuted with Sway in 2014, an effort full of promise and light. As the duo prepares for their follow-up, it’s clear that Christie is more comfortable than ever on stage, whether performing upbeat indie folk tracks like “Backwards” or slow-burning acoustic ballads like “Patterns”.

Eisley

Eisley

On stage with Eisley, Christie offers range for the band, especially as they perform older tracks like “Brightly Wound” and “Trolley Wood”, serving as a soothing harmony to Sherri’s bite. Even so, the night’s set finds Sherri fully embracing the role of front woman in all the right ways. She owns the stage during performances of “Smarter” and “Many Funerals” and even sounds strong taking the lead on tracks that were previously piloted by Stacy, like “Ambulance” and “Shelter”.

As wonderful as it is to hear these tracks performed again after the band’s brief hiatus, the night’s best moment belongs to a rendition of their latest song, “Defeatist”. Here, Sherri sounds more confident than ever as she belts out the pleading chorus of, “You know I want to / You know I will fight / Down in the trenches / Holding your hand tight”. It’s a song of determination – one that fits the current mood of Eisley quite nicely.

The wait for more new Eisley music is likely to feel lengthy, but despite past trials, the band has never failed to deliver. As odd as it feels to gaze upon the stage and not see Stacy behind the keyboard and Chauntelle with her guitar, it’s still inspiring to watch Sherri carry on. On the band’s latest track, she labels herself a defeatist. It’s a bold self-assessment, but from our view on the floor, her demeanor is one of strength and resolve.

Eisley
Eisley
Merriment
Eisley
Eisley
Merriment

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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