Review: Foxing – Draw Down the Moon

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You know that old saying “If I could, I’d give you the moon”? On Foxing’s new album, Draw Down the Moon, Foxing both asks for the moon and delivers it to us on a silver platter. 

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You can buy or stream Draw Down the Moon on Apple Music

This is, in short, a superb album. But of course it is, because Foxing never does anything less. I honestly thought they’d peaked with Nearer My God, but somehow they’ve aimed higher here and hit the mark. If Nearer My God was the “rock” in “art rock,” then Draw Down the Moon is the “art.”

The album begins softly with “737”, a song about loneliness and how it’s not sustainable. The guys compare themselves to the Mars rover who died after being on the planet for 15 years: “My battery is low / And it’s getting dark”. Conor Murphy said in the band’s press release: “This album is about cosmic significance as it relates to 10 themes.” In the first track, the bridge alludes to all nine of the tracks to follow. It’s a subtle choice, but it ties everything together in what could be seen as a chaotic album. Foxing is a calculated band. Chaos isn’t chaos for the sake of it. If we feel disjointed, it’s because they’ve decided we should feel that way.

The album was co-produced by the Manchester Orchestra folks, masters of their own craft, and you can definitely see their influence. “Where the Lightning Strikes Twice” could be mistaken for a Manchester song in a universe not far from ours.

As a longtime follower of the band (after catching them as an opener for Manchester Orchestra, funnily enough), I know better than to go into the Foxing discography looking for a casual listen. But with this album, I wish I could have turned off that analytical side. This album cuts deep. Songs about loneliness, about mental illness making it feel like “you’re swimming through mercury” (Go Down Together). Songs like “Cold-Blooded” that talk about feeling numb to an ever-changing, ever-failing world. These things matter. And Foxing knows that not only do things feel smaller when they’re talked about, but by pairing them with larger-than-life art, we can turn the things that make us nervous and the things that emotionally ail us into outlets for creativity and learning experiences.

In the title track, Conor sings “I want to show you / I can keep it all together”, but this album is a lesson in letting it fall apart, and rising above it.

5/5

by Nadia Alves

kiel_hauckNadia Alves 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.

Podcast: Our Favorite Bad Songs

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What songs do you listen to when you switch Spotify to private mode? We all do it. So let’s talk about it! Kiel Hauck is joined by Nadia Alves and Kyle Schultz to share their deepest, darkest music secrets. The songs we love that we don’t tell our friends about. The songs that move us that we don’t share with the world. And why they mean so much to us. So what are some of our favorite “bad” songs? Take a listen and find out!

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Posted by Kiel Hauck

Podcast: Cole Cuchna Talks Yeezus, Olivia Rodrigo, and the Music that Gives Us Chills

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Music podcaster extraordinaire Cole Cuchna just wrapped up season 8 of the wildly successful Dissect Podcast and also recently launched Key Notes – an interactive music show that combines full songs with original musical and lyrical analysis. Cole joined Kiel Hauck on Long Live the Music to discuss the complexity of Yeezus and how he approached the album for Dissect. Cole also talks about why some music gives us chills and what it is about Olivia Rodrigo’s smash hit “Driver’s License” that checks all of the neurological boxes. They also discuss a new generation’s fascination with the alternative, guitar-driven music of the 90s and what might come next in the evolution of popular music as a whole. Take a listen!

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Posted by Kiel Hauck

Review: Graduating Life – II

Every now and then, an album shocks you by how much you enjoy it. Graduating Life is undoubtedly a beast of creativity, making music unlike almost any other artist at the moment. Emotional, erratic and utterly brilliant, II is the type of record that comes around rarely and isn’t appreciated until years after release.

You can buy or stream II on Apple Music.

Despite how distinct II sounds, it is undoubtedly and reassuringly familiar. It’s impossible not to compare Graduating Life, the project of Mom Jeans guitarist Bart Thompson, to Max Bemis and Say Anything‘s Is A Real Boy…, or elements of Jeff Rosenstock. Thompson even sounds like Bemis, straight from the clean vocals to the screams. On more than one occasion, I had to remind myself that I wasn’t actually listening to Say Anything. While that may sound like a dig at Thompson, I was utterly enthralled by II and how a tempo change thrown into the middle of a song sounded so refreshing, or how much I wanted to fist pump the air on a crowded train.

Thompson proves himself an incredible talent, shredding pop punk riffs that incorporate elements from many areas of punk. Songs jump in tempo (“Crushed & Smothered”) without warning, and slam from piano and acoustic melodies to jarring punk riffs (“Photo Album”), but it never sounds incohesive. And somewhere in the middle are ample amounts of guitar solos that seem to appear right when you hope they will (“Fine”).

The poetic lyrics tell a tale of battling one’s inner demons, and wrestling with stagnation and ego while the people close to you move on to other things, come better or worse.

Album opener “Photo Album” sets the tone by reflecting on a life of difficulty in letting go of those around you (“So they will move and you will stay / The afterlife Seattle rain / It’s getting harder every single day / You’ll make new friends and settle in / Or cry alone like we were kids”).

Alt rock jam “Let’s Make A Scene” finds Thompson in conflict and losing someone close to him who has decided to not to live with him anymore (“Let’s makе a scene just you and me / I was never asking for more than your company / Oh your company, a friend by my side / And in this apartment I feel alive”).

Meanwhile, “Black Skinny Jeans” calls out trolls online who spout nothing but contempt (“And I read the messages that ya sent / Bet you never thought that I’d read them / Goodbye get to leaving”) with Thompson comparing the experience to going to his old home and watching how it’s changed since be became an adult (“I went to my old house to see if it’s the same / I guess they took the trees out but left on the paint”).

II somehow simultaneously treads familiar ground and seems to innovate a genre with the energy it has missed in the last couple of years. Despite the fact that it sounds like the sequel to Is A Real Boy… that Max Bemis never wrote, Bart Thompson manages to infuse enough of himself into the album to keep it from feeling like rehashed territory or a copycat. 

Graduating Life has managed to create something incredible and hypnotic that sounds utterly inspired by a scene staple, but brimming with its own life and energy.

4.5/5

by Kyle Schultz

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Kyle 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 just recently begun to accept the existence of tomatoes.

Podcast: The Best Albums of 2021 (So Far)

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The year is half over. How is it possible? Only scientists can explain. But we’ll use the opportunity to break down some of the best music that’s been released so far this year. Kiel Hauck kicks things off by sharing summertime Warped Tour memories and discussing the return of live music. With tours being announced left and right, we’re all making big decisions about when, where, and how we return to concert settings. Then Kiel shares some words about some of the albums that have been impacting the Long Live the Music crew so far in 2021, from Architects to Olivia Rodrigo to J. Cole and more. Listen in!

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Posted by Kiel Hauck

Review: Olivia Rodrigo – SOUR

In the last 24 hours, I have listened to Olivia Rodrigo’s debut album, SOUR, no less than seven times. Last night, I was enthralled with it, wiping tears from my eyes at some of the lyricism, and even boldly considered it album of the year. But having sat with SOUR, the more I have wondered what connected me so intensely with an artist half my age. Rodrigo bounds from genre to genre in a way that feels natural and familiar. In fact, it sounds too familiar at times. My experience with SOUR is one of pure joy at seeing a young artist find her voice from the opposite side of the music I tend to listen to, and I still believe it will be in contention for album of the year for me in a few months time. However, SOUR is the first album I have listened to that made me wonder where the line is between paying homage to other artists and just rewriting the songs by them that you love.

You can buy or stream SOUR on Apple Music.

My first exposure to Olivia Rodrigo was her SNL performance one week ago (I somehow utterly missed the release of “drivers license”), when I heard “good 4 u” playing in the background and literally dropped what I was doing to go see who was singing. That led to a week of anxiously awaiting the release of SOUR.  

Rodrigo manages to take the listener through a tour de force through genre in ways where it’s easy to see who her influences most likely are. There are bits of the grunge of Hole (“brutal”), the quirky pop of Regina Spektor (“traitor”), the pop punk of Paramore (“good 4 u”), the percussive experimentation of Death Cab For Cutie (“deja vu”) and the pop elements of Taylor Swift (“1 step forward, 3 steps back”). I don’t say that to try to take anything away from her, I mean parts of the album instantly feel familiar—”1 step forward, 3 steps back” list Taylor and Jack Antonoff with a writing credit due to its inspiration from Swift’s song “New Year’s Day”.

Where Rodrigo stands tall is in the songs that don’t sound like an homage, such as “happier”, with a doo-wop melody, or the folk acoustic guitars of “enough for you”. Although the crunching guitars of “good 4 u” are a welcome surprise, it’s hard not to instantly think of Paramore.

The absolute highlight of SOUR though, is in the incredible lyricism and vocals Rodrigo delivers throughout. Each song is a swirling tempest of heartbreak and carries an emotional weight that cuts straight to the bone.

Rodrigo as a singer is utterly inspirational. Ranging from whispers (“1 step forward, 3 step back”) to bouncing explorations of higher notes (“enough for you”), her vocals are tested song after song. She even manages to emphasize single words at the emotional apex in a song to make the lyric utterly deadly, such as in “traitor” (“Don’t you dare forget about the way / you betrayed me”). 

It would be easy to write Rodrigo off as just another artist singing about heartache—there are a lot of songs about it on SOUR. But that would be a disservice to her lyricism. SOUR explores the transition from adolescence to adulthood through the viewpoint of a young woman, heartbreak and all. Lead single “drivers license” explores the utter devastation of young love—finally having the freedom to drive anywhere, but finding yourself trapped by the orbit of one person (“And I just can’t imagine how you could be so okay now that I’m gone. / Guess you didn’t mean what you wrote in that song about me / Cause you said ‘forever’ now I drive alone past your street”).

By the end, it’s easy to see the growth as she worries about close friends and the poor influence of past generations, such as “hope ur ok” (“Well, I hope you know how proud I am you were created / With the courage to unlearn all of their hatred / But, God, I hope that you’re happier today, ‘cause I love you / And I hope that you’re okay”).

Meanwhile, the insecurity of growing up seeing “perfect” idols is explored in “jealousy, jealousy” over a simple bass riff (“I kinda wanna throw my phone across the room / cause all I see are girls too good to be true”).

SOUR somehow flawlessly encompasses a pure venom of heartbreak with maturity that sees beyond the base level. Meanwhile, the lyrical content transcends age to form a bridge between generations. Her lyrics are biting, simple and heartfelt. Olivia Rodrigo might not be the most unique artist to exist, but she is such a sponge to influence that it sounds new and enthralling. But that is also its biggest setback

SOUR is a masterful debut album from a young artist, but it spends too much time feeling like a “best of” to the music that inspired her. It makes for a captivating listen, but its difficult to find Rodrigo in her own space. It’s easy to make comparisons to Taylor Swift and Paramore for good reason, but that doesn’t make the music any less than its whole. It’s just that in reflection, it feels like a trick to grab your immediate attention before a song that sounds like its own beast takes hold.

Rodrigo is a confluence of sound. Her influences on her sleeve, it’s wonderful to see her paying respect to the bands she loves, but its heartbreaking not to hear more of her in them. SOUR will rightly be adored and is justifiably going to be played on repeat constantly throughout the summer. If it’s anything to judge her by, SOUR is the perfect springboard toward finding an incredibly inspired artist leaning slightly less on her idols on her next album.

4.5/5

by Kyle Schultz

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Kyle 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 killed a spider with such vigor that he broke his broom in half. He’s pretty strong. Tell your friends.

Podcast: Mike Herrera Talks Livestream Performances and (Almost) 30 Years of MxPx

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Thought we were done talking MxPx? Think again! Mike Herrera stopped by the podcast to talk with Kiel Hauck about the band’s current livestream series, Between This World and the Next, and how the band has stayed innovative when it comes to connecting with their fans. Mike also reflects on the upcoming 30th anniversary of MxPx and shares about the experience of exploring the band’s deep catalogue across their recent livestream setlists. Finally, he discusses the ebbs and flows of fan response to the band’s music over the years and the prospect of a new MxPx album. Take a listen!

You can grab tickets to the band’s next livestream performance on their website.

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Posted by Kiel Hauck

Photo Credit: Jered Scott

Podcast: The Best of MxPx with Jason Tate

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This one has been a long time coming, folks. We welcome Jason Tate, founder of Chorus.fm, to the podcast to talk all things MxPx. Jason and Kiel Hauck break down the band’s history and legacy before diving into an extensive ranking of the band’s 10 studio albums. They also discuss the biggest “What if?” in the band’s career, their favorite MxPx concert memories, and why the band is still so vital and relevant almost three decades into their career.

It’s safe to say that It’s All Dead and this podcast wouldn’t exist without MxPx and the impact they’ve made on the scene. We had an absolute blast diving into the band’s legacy and discography and we hope you enjoy this (rather long!) episode. Long Live Left Coast Punk Rawk.

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Posted by Kiel Hauck

Photo Credit: Jered Scott

Stand Atlantic Release “Deathwish” featuring Nothing,Nowhere

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It’s been just over eight months since Sydney pop punk act Stand Atlantic dropped their sophomore album, Pink Elephant. Not having the opportunity to properly tour their breakout release, the band haven’t twiddled their thumbs. Friday, they released a new track titled “deathwish” featuring rapper Nothing,Nowhere.

The track picks up where Pink Elephant left off, blending the dark, synthy sound of “Silk & Satin” with the aggressive feel of tracks like “Shh!” and “Wavelength”. Needless to say, the track goes hard as hell and sounds so catchy that you have to hit repeat.

With the temperatures reaching the 70s and the sun beginning to shine consistently, I threw on Pink Elephant this weekend and was transported back to last summer, when Stand Atlantic kept me sane amidst isolation. The days of Warped Tour may be behind us, but if you had to encapsulate the experience in a vibe, Stand Atlantic would be it. It’s crazy that this band just keeps getting better, but they sound firmly ferocious on “deathwish”, with Bonnie Fraser becoming more and more of a force with each new release.

There’s no telling whether this new track is a one-off single or part of something larger. Fraser recently told Rocksound that the track was recorded during quarantine and that “It’s probably our favorite song we’ve ever done.” It’s hard not to hope that there’s more where this came from, but even if not, I’m happy to have “deathwish” carry me into summer.

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.

Podcast: Lil Nas X, “WAP” and Music Outrage with Evan Sawdey

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People are mad about music again. And we kinda love it! Kiel Hauck is joined by Evan Sawdey of PopMatters to discuss the cultural outrage associated with Lil Nas X‘s new single “Montero (Call Me By Your Name)”, Cardi B and Megan Thee Stallion’s Grammy performance of “WAP”, along with a general movement back toward backlash. They discuss why outrage about music seemed diminished in recent years, why it appears to have returned, and what kind of conversation should ensue. They also reflect on a previous generation of music backlash, the evolving nature of protest music, and why it’s so vital to elevate music and artists that have something important to say. Listen in!

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Posted by Kiel Hauck