Podcast: Interview with Trenton Woodley of Hands Like Houses

On October 12, Canberra, Australia, rock band Hands Like Houses released their fourth full length album, Anon. on Hopeless Records. As the band hits the road for their headlining U.S. tour, Kiel Hauck caught up with lead singer Trenton Woodley to discuss the new album and the band’s sonic journey on our latest podcast. Woodley also shares details about the band’s songwriting progression over the years, how to evolve as an artist while bringing your fanbase along for the ride, and how Hands Like Houses keep up with an ever-evolving music industry. Listen in!

Subscribe to our podcast here.

Posted by Kiel Hauck

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Podcast: The Wonder Years Strike Again

On our latest podcast, Kiel Hauck and Kyle Schultz are joined by It’s All Dead writer Nadia Paiva to discuss the latest release from The Wonder Years. During the discussion, the trio debate the merits of Sister Cities and dialogue about where the album lands among the band’s best releases. They also share their favorite songs from the album and talk about the band’s knack for human stories and connecting with listeners. Listen in!

Subscribe to our podcast here.

What was your favorite song on Sister Cities? Share in the replies!

Posted by Kiel Hauck

Review: The Wonder Years – Sister Cities

One evening, I returned home from my mundane office job to find a postcard in my mailbox. I analyzed it and thought about it for an hour or two, employing the opinions of friends on what it could mean. It had a line drawing of a dog on the front and a simple message on the back: “I’m laying low / A stray dog in the street / You took me home / We’re sister cities”. I pulled back a post office label to find the logos for both Hopeless Records and Loneliest Place On Earth. The Wonder Years were back.

You can buy Sister Cities on Apple Music.

A day or two later, the band tweeted a link with an album title, release date, and single. Needless to say, their hype worked. I’ve been a huge fan of The Wonder Years for what seems like forever, and No Closer to Heaven came just when I needed it to when it released in 2014. Given my growing affection for the band, it was natural to highly anticipate what they’d do next.

Surprisingly, Sister Cities abandons much of what made The Wonder Years’ brand of pop punk so recognizable, while still managing to remain true to the band’s heart. The subtle changes are felt from the moment the album begins. The first track, “Raining in Kyoto”, is abrupt and not what I expected. I figured they’d put “Pyramids of Salt” (the second single) as the opener because of how they built up the energy. Instead, it’s track two.

In contrast to their previous releases, Sister Cities doesn’t seem to have a cohesive theme or sonic continuity. From what I understand, the album was written while the band was on tour and I think that’s the reason every track is a different experience, as well as lyrically alluding to visiting new places and seeing new things. Despite the missing aspect of “let’s get out of this town”, Sister Cities is still decidedly The Wonder Years.

I’m impressed with Dan Campbell’s vocal style on this album. I think his side project, Aaron West and the Roaring Twenties, has really helped him tap into the softer, more melodic side of his vocals rather than just the rough punk sound so associated with their past work. Musically, it’s about what we’ve grown accustomed to hearing from The Wonder Years: powerful, guitar-based punk with strong drums and soaring vocals.

Two stand-out tracks for me come right in the middle of the album. “Flowers Where Your Face Should Be” and “Heaven’s Gate (Sad and Sober)” show both sides of the band. The former is an example of growth – a song about love through the hard times that is stylistically different from anything the band has done before. It reminds me the most of Aaron West. The latter track, however, is classic Wonder Years. It feels the most like their past and is almost a reassurance to listeners, implying, “Hey, we’re artists who’ve grown, but we’re still the band you fell in love with”.

It’s obvious that The Wonder Years have grown a lot as a band over the years, and I think it’s a combination of both life experience and band experience. With Sister Cities, specifically, it’s obvious that their travels impacted their writing and opened up a new direction to pursue. I’m always a fan of band growth, and that’s something The Wonder Years really deal well with. They never change so much that they lose fans, but they change enough to keep things fresh.

That’s what Sister Cities is. It’s new and exciting and covers ground that Soupy and the guys have never walked on before, but it still feels familiar, from the first track right through to the end.

Sister Cities closes with an outstanding final track. The band always manages to tie up their albums perfectly and “The Ocean Grew Hands to Hold Me” is no exception. Just the title alone is beautiful, but the final lines are what really got me: “When the sutures start to split / I trust the current to pull you back in / I miss everyone at once / But most of all, I miss the ocean”. The ocean holds a special place in my heart, and after the (seemingly) endless winter we’ve had, I’m ready to go sit in the sand and reflect on some things.

The Wonder Years have always known exactly how to voice dealing with loss and grief and I think that’s why so many people are drawn to the art they create. There’s not a person on earth who won’t experience these feelings, if they haven’t already. Where No Closer to Heaven dealt with anger and blame, Sister Cities focuses on sorrow, feelings of abandonment, and how we eventually find the strength to move along. We always remember the things we’ve lost, but there’s a point where we find a way out and get back to the ocean. I think I’m at that point, personally, and The Wonder Years have simply come up alongside me to help with the healing.

4.5/5

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.

The Wonder Years Release New Song, “Sister Cities”

It’s finally here! After coyly announcing their new album, Sister Cities, last week, The Wonder Years have now released the album’s first single, which also happens to be the title track. You can watch the music video for “Sister Cities” below, which was directed by Josh Coll.

The new track certainly treads new sonic ground for The Wonder Years and will be fascinating to hear fleshed out over the course of a full album. Fortunately, we won’t have to wait long to hear more. Sister Cities is set to be released April 6 via Hopeless Records. You can currently choose from multiple pre-order options on the band’s website.

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

Posted by Kiel Hauck

Finding Solace in the Music of The Wonder Years

While the chill of winter may still be far from over, we can trust that the sweet dawn of spring will come with new music from The Wonder Years. Last week, the Lansdale, Pennsylvania, pop punk act announced the release of their upcoming album, Sister Cities, on April 6. I have yet to watch the new trailer the band released to promote the album, nor do I have intent to do so.

That’s not to say I have no interest in new music from The Wonder Years, it’s just that their music carries an intense kind of baggage for me, something I only fully realized while spinning my vinyl copy of The Greatest Generation this weekend. I’ve long believed that The Wonder Years’ albums should be listened to in full, from front to back in one sitting, but there’s a bit more to it than that.

“I don’t have roses in the closet / But I’ve got pictures in a drawer / And it’s everything left in me not to stare at them anymore”

I was aware of The Wonder Years amidst their 2010 breakout with The Upsides, but didn’t dig in deep with the band until the following year, with the release of Suburbia I’ve Given You All and Now I’m Nothing. That album came fresh on the heels of my divorce and brought a mean kind of comfort. I’d venture to say that I’ve only felt such a deep, personal connection with an album a handful of times in my life.

So vivid are my early memories with this album that I can remember every moment of the night-time car ride I took with Suburbia on the evening I purchased it. I can still remember the click of my turn signal while sitting at a stoplight on Bardstown Road in Louisville, Kentucky, dead inside, as the first verse of “My Life as a Pigeon” tore through my soul.

Everyone who knows me knows about my hyperbolic habits, and yes, I believe Suburbia to be one of the best pop punk albums ever written, but it’s more than that to me. It’s the story of a year I spent as a ghost, not sure where home was anymore. It’s the soundtrack to an upheaval of my life, and how I slowly, painfully, wonderfully found the ground again.

“I’ve been acting like I’m strong / But the truth is, I’ve been losing ground”

It wouldn’t take long for Dan Campbell and crew to cross paths with me again. Their next album, The Greatest Generation drove headlong into my continued fight with depression, made even more bitter by my mother’s unexpected battle with cancer. Like it was yesterday, I can remember the tears streaming down my face as I sat quietly at my desk at work with “Dismantling Summer” playing through my headphones.

Alone, in a room full of people, hundreds of miles away from my mom in a hospital bed, Soupy’s cries of, “What kind of man does that make me?” still haunt me to the core. My mom would go on to make a full recovery from her cancer. I’m still working on my depression, but The Greatest Generation is a blunt reminder of another period of my life in which The Wonder Years sang the songs and questions of my heart.

I’m writing this partly for therapeutic reasons and partly as a continuing examination of the role of music in my life. I’m eternally grateful for the music of The Wonder Years, even if I can only revisit it infrequently. What makes the music we love truly great? The songs we play relentlessly, finding repeated joy in the moment, or the songs we return to carefully and cautiously, knowing the ache attached within? In my experience, it’s a little bit of both.

I’m excited about what new sounds Sister Cities will bring, but content with the idea that the band’s music has done enough for me already. I have no deep expectations, other than the hope that this new album will provide a similar salve for someone else.

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.

Review: Tonight Alive – Underworld

I’ve been looking forward to the return of Tonight Alive. As a female fan of the alternative scene, I have always found safety in other female members. Lacey Sturm of Flyleaf, Hayley Williams of Paramore, and others have all influenced how I see things as a woman in music (even though I’m only a listener on the sidelines). I’m always excited to hear their perspectives. Jenna McDougall is another girl on my list, and she’s returned with a beautiful and hopeful picture of what’s been going on inside her head.

You can buy Underworld here.

Underworld is an album about the search. Searching for meaning, for joy, for whatever can bring some light to our lives. McDougall and the other members of Tonight Alive really captured that well with the 13 tracks on Underworld. There’s nothing I love to see more in any piece of art than honesty, and that’s what Tonight Alive did with this album. It’s raw and it cuts deeply, but it’s also comforting. McDougall seems to have taken on the burden of reminding everyone that they’re not alone in what they struggle with.

To say that it’s been a turbulent ride for Tonight Alive is an understatement. From McDougall’s battle with health concerns to the departure of their guitarist Whakaio Taahi, there has been no shortness of setbacks. Regardless, Tonight Alive have stood strong and their resilience is showcased in Underworld.

The band has really turned a corner, musically, switching over from their frantic and moody pop punk vibe to a more grown-up pop rock sound. The tracks fit well together thematically, and it’s all around a great sonic experience. I loved the single “Temple” from the minute I heard it and was pleased to find that the rest of the album was just as strong. Singles can always be hit or miss, especially when they don’t represent the album well, but Tonight Alive chose correctly with all three of the singles they put out.

Speaking of women in the rock scene these days, I think McDougall and Lynn Gunn (of PVRIS) are on the same level. They’re both talented, have a great stage presence, and have still kept femininity a part of their career. I hate the idea that these bands have to be pigeonholed as “female-fronted,” and I’m sure that the bands hate it even more, so I won’t focus too heavily on it, but I hope that women standing on stage realize how inspiring their careers are. I bring this up because Lynn Gunn is featured on the third single, “Disappear”, and the two of them are a vocal dream team. I hope someday they’ll tour together again so I can hear it live (fingers crossed).

The track “In My Dreams” is also really lovely. McDougall takes a second to focus on the more positive side of things, and it’s a nice breather from what is mostly a thematically heavy album. She sings about not really feeling comfortable where she’s at, but there’s someone who helps her find a sense of peace.

Because Underworld is largely focused on finding peace within ourselves, despite what’s happening around us, perhaps McDougall is talking to her past self, letting herself know that even though there was a rough patch, it’s gotten better and it’s okay to have been that girl who struggled. Who knows, maybe she was talking to me.

The rest of Underworld continues the slow climb upward. It’s an emotional rollercoaster, just like life is. It goes up and down and there are glimpses of light, either musically or lyrically, in even the darkest points. It’s a musical essay on dealing with things and making it through successfully.

McDougall’s honesty is familiar to what we find ourselves experiencing. Tonight Alive has let us know that it’s okay to struggle and have those doubts about ourselves and what we feel. In those times when we can’t see past the problem right in front of us, Underworld is a reminder that it can and will get better if we just try to find the light.

Photo by Neal Walters

4.5/5

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.

Most Anticipated of 2018: #5 Can Moose Blood Still Do This (Anymore)?

In my opinion, there are two perfect pop punk bands: The Wonder Years and Moose Blood. It’s been a while since we’ve heard from either, but Moose Blood is set to return with a new album called I Don’t Think I Can Do This Anymore. Set to release on March 9, we’ve received a single (and video) called “Talk In Your Sleep”. I’m not sure whether it’s possible to create another I’ll Keep You In Mind, From Time to Time (their 2014 release), but so far they’ve managed to match the length of the title, so that’s promising.

“Talk In Your Sleep” isn’t overly different for the Moose Blood guys. If anything, it’s on the same level as I’ll Keep You In Mind. This isn’t a surprise, as they rarely break the mold, and personally, I think that’s what makes them work so well. They’ve found a groove and stuck with it and yet still have some semblance of growth on each album. They’ve found that perfect balance of keeping everyone guessing but never straying too far from the path of success.

The video for the song seems to be an artistic continuity of the Blush era of the band – light colors and minimalist subject matter. Blush was almost a concept album, lyrically, mostly dwelling on the lead singer’s (then) recent marriage. I’m excited to see how these developments have musically influenced the band or whether they’ll touch on them at all.

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.

Review: The Wonder Years – Burst & Decay

For many people, myself included, it is hard to buck the idea that The Wonder Years are a positive band. After the release of The Upsides, there is always that part of me that will juxtapose anything they release with the immortal line of “I’m not sad anymore”. Even as the band has matured and their music drifted away from youthful optimism, I still see them as one of the most earnest bands out there. But their songs always felt grounded in the stories each album told. Burst & Decay, the band’s new acoustic EP, is an exercise in reinvigorating their material so much so that it’s hard not to see those same optimistic boys that set the scene aflame with positivity.

You can buy Burst & Decay on iTunes.

Burst & Decay is a delicate interpretation of songs throughout their catalog. Tempo changes, keyboards, and crooning vocals are the most prominent changes from the original punk rock. However, that is enough to revamp these songs entirely into their own message. The softer songs build to crescendos that the original songs lacked. When vocalist Dan Campbell shifts from a croon to all-out shouts, the message carries stronger and more prominently than the original songs were able to.

“There, There”, which reflects on one’s own faults, becomes a slow-built song of defiance. “Cardinals”, a song of regret over letting down a friend, becomes a moment of somber reflection and a loving war cry.

It’s not as though these songs are fundamentally different by any means. The melodic violin, soft drumming and acoustic strums of “Cardinals” sits alongside Dan Campbell’s whispery vocals in perfect meditation. There is a build throughout so that in the final verse, when Campbell explodes and shouts the lyrics, it fundamentally seems to change the tone of the original song. Instead of pleading for a chance to prove himself, Campbell is swearing an oath to the gods.

“Don’t Let Me Cave In”, a cornerstone track of Suburbia, I’ve Given You All and Now I’m Nothing, may be the most dramatically changed. In lieu of the raging guitars, the song is a ballad focusing on dreamlike keyboard melodies with minimalistic guitars. Originally, this song was frantic and desperate. Campbell seemed to search for an excuse for being in such hysterics. He pleaded for help. This softer version finds him saying the same words, but determination is behind him. He’s aware of his problems and thankful to have someone there to help see him through his demons.

Not every song takes a different tone to its predecessor. “Dismantling Summer” is arguably the most direct conversion to acoustics. “Coffee Eyes” is still an absolute jam. The drums rattle away and the guitars are crisp and hypnotic. Slightly more isolated, Campbell’s cracking voice as he shouts, “There’s always been a table for me there”, sounds so much better than it did on the original recording.

“You In January”, one of No Closer To Heaven’s stand-out tracks, tops off the EP. The light violin and plinking piano provide the romantic backing a song like this always asked for. It’s also in this song that the record’s title, Burst & Decay become prominent as Campbell sings to his love. “You In January” is the thesis of the album in a roundabout way. Where many of these songs centered on the idea of cracking slowly and trying to stop the damage, these versions have managed that task.

Burst & Decay is one of the few acoustic albums that make a true difference in a band’s sound. Much like The Starting Line’s Make Yourself At Home, this record is short, crisp and fundamentally different than the core sound of the band. Though it doesn’t carry the same weight or theme of a proper album, Burst & Decay does enough to differentiate itself from anything else The Wonder Years have done.

My one hope for this album was that perhaps the songs would be reimagined lyrically, much in the same way that “Logan Circle” and “Logan Circle: A New Hope” were. Unfortunately, that isn’t the case with Burst & Decay. But finding a new meaning and tone to the existing lyrics may be something more profound.

4/5

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 is probably playing euchre right now. Why? No reason other than he is a pretty cool cat. Myaaah!

Review: Neck Deep – The Peace and the Panic

In the last few years, Neck deep have grown exponentially. When I listened to their first album, I remember thinking about how I was aware that they were a band starting their career. Only within the last year have I heard their sophomore effort, Life’s Not Out to Get You, which was a sizeable leap forward in song writing skill and kept my attention for quite some time. The Peace and the Panic, the third album from the band, is not only their best work to date, it is a near perfect blend of the best aspects of pop punk with a personalized edge to it.

You can buy The Peace and the Panic on iTunes.

Neck Deep have found their groove in the scene, with a perfected mix of New Found Glory’s pop and memorable lyrics and the harsh guitars of A Day To Remember and Four Year Strong. There is an argument that the tracks might be over-produced (depending on your preference), but there is a satisfying edge to the tempered guitars.

This is a band who is unapologetically pop punk, but carving their own path through what could be an otherwise stagnated genre. “Don’t Wait” is a heavy pop song that wouldn’t have felt genuine on an earlier album as it delves into questioning the government and gaining enough perspective on the world to create your own decisions. “19 Seventy Sumthin’” is sonically caught somewhere between The Early November’s “Driving South” and Polar Bear Club’s “Drifting Thing”. It’s a beautiful mixture that shows the talent behind the band and how far they have come.

Guitarists Matt West and newcomer Sam Bowden seem to relish in the simplicity of pop punk power chords while still finding the harder edge that has been missing on the band’s last two releases (“Motion Sickness”, “Heavy Lies”) while also striking a crisp power pop melody throughout (“The Grand Delusion”). Bassist Fil Thorpe-Evans provides a heavy spine to keep the songs propped up with bucking lines (“Parachute”). Drummer Dani Washington is at his best, finding a solid mix of beats ranging from hard punk (“Motion Sickness”) to 90’s alternative (“Parachute”).

Vocalist Ben Barlow showcases his best performance yet. He is experienced enough to test his range and write some incredibly catchy and memorable hooks. The directions he takes songs into are notable as well, as they delve deeper than any of their other records. The confidence of youth is on full display, such as in “Parachutes” as he sings, “I’m done with small town politics / I need to make my way to where the action is / I’m done with it, so the question is / are you coming with?”

Lead single, “In Bloom” is a reverberating pop jam, reminiscent of Brian Fallon’s swirling guitars as Barlow asks for a chance to recover from his own sadness to help pick up the pieces of a broken relationship. “Don’t Wait” begs the listener to look further for the truth in government and politics, with a backing threat of Sam Carter screaming behind the chorus. “Disrupted they keep dividing / the government is lying / I’m not going to be a pharisee of this society / Turn off your TV station, that’s not real information”.

Perhaps most satisfying is “19 Seventy Sumthin’”. The song traces the story of Barlow’s parents from the beginnings of their relationship through his father’s death. The song is light and cheery, as a happy marriage should be, before delving into heavier guitars during the eulogy of his father. “We made it here my dear, grandkids and the mortgage paid off / Is this what dreams are made of, cuz baby we made it / Yeah, baby, you saved me / But nothing could save him from the ambulance that day”.

The Peace and the Panic is an album about finding the best in life, even if the path there is littered with road blocks. This is best expressed through closing track “Where Do We Go When We Go”, as Barlow sings, “Pain, pain, go away. Come back another day / I just wanna get one up on life before it kills me”.

Neck Deep have cemented themselves as a cornerstone of modern pop punk with this album. They haven’t redefined pop punk, because they haven’t had to. Instead, they have found the lifeblood of the genre and pumped it alive again like all great punk albums do – with ferociously uplifting music, lyrics hoping for the best despite the odds, and a guarantee that you’ll be singing along on the second listen.

4.5/5

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 is just the worst. He stepped on a pile of tomatoes yesterday. Who does that? Who doesn’t notice a hillock of tomatoes on the sidewalk and at least make an attempt to dodge? This idiot, that’s who. Boo him to his face.

Circa Survive to Release “The Amulet” on September 22

Following a brief hiatus last year while vocalist Anthony Green reunited with Saosin for their first album and tour in seven years, Circa Survive has announced their return. The progressive rock act will release their fifth full length album, The Amulet, on September 22 via Hopeless Records.

One of the most original and creative bands in the scene, Circa Survive has consistently released solid, challenging material, including their last album, 2014’s Descensus. To prepare us for The Amulet, the band has released the album’s first single, “Lustration”, which you can hear below:

You can also check out the album’s artwork, created once again by artist Esao Andrews.

If you like what you hear, be sure to pre-order The Amulet from the band’s webstore. What are your thoughts on the new song? Share in the replies!

Posted by Kiel Hauck