Eat Your Heart Out Share New Track “Carousel”

March 11, 2019 by Leave a Comment

On Friday, pop punk act Eat Your Heart out dropped a new single titled “Carousel”. The track is the first to be released since their 2017 EP, Mind Games, and was co-written by Movements’ Patrick Miranda. Hailing from Newcastle, Australia, Eat Your Heart out signed to Fearless Records in 2017 and has been steadily gaining steam thanks to a knack for writing emo-tinged tracks that ooze pop sensibility.

“Carousel” is no different, thanks to its instantly catchy hook, courtesy of vocalist Caitlin Henry. The track deals with the merry-go-round of thoughts that cause us to doubt ourselves instead of realizing our potential. There’s been no official announcement of a new album, but summer would certainly benefit from an Eat Your Heart Out full-length. Take a listen to “Carousel” below!

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

Posted by Kiel Hauck

Advertisements
Filed Under: News Tagged With: , , , , , ,

Reflecting On: A Day to Remember – Homesick

February 11, 2019 by Leave a Comment

The largest crowd I ever saw for a performance at Warped Tour was for A Day to Remember at Indianapolis in 2009. That afternoon, I watched from the top of a small hillside, looking down into a grassy valley where the Hurley Stage sat as a massive crowd moshed like a single organism. It was out of a fear of missing out that I downloaded Homesick a day later to see what all the fuss was about. I burned the album to a CD, which remained in my car stereo for the rest of the summer.

You can buy or stream Homesick on Apple Music.

I was obviously aware of A Day to Remember prior to that sweltering afternoon in 2009. A few different friends had played me various tracks from the band’s debut, For Those Who Have Heart, but none of them stuck. In those early days, I viewed A Day to Remember as a diet knock-off of the bands I loved, like Underoath, Chiodos, or Story of the Year. I’m still not totally sure I was wrong, but there was something about the way things came together for the band on their sophomore breakthrough that just made sense.

You don’t need a 10-year retrospective to tell you that Homesick found the perfect balance of metalcore and pop punk, full of silly breakdowns and one-liners topped off by sugary choruses. It’s an album that quite literally set the tone for the next 10 years of the scene, and it did so simply by having fun.

Truth be told, A Day to Remember would further perfect the very sound they helped turn into trend with later albums like What Separates Me from You and Common Courtesy, but even so, there’s still not a single album of theirs that puts a smile on my face quite like Homesick. From front to back, I know the words to every song and can perfectly synchronize my head banging to every cheesy breakdown. If you haven’t shouted along to Jeremy McKinnon’s cry of, “Disrespect Your Surroundings!” with a friend in the car on a summer drive, have you really lived?

Some of my personal favorite tracks include sing-along choruses, like those found on “My Life for Hire”, “NJ Legion Iced Tea”, or “Holdin’ it Down for the Underground”. Whether the band is flexing their drop D tuned guitars on “You Already Know What You Are” or taking a poppier approach on “Homesick” or “Have Faith in Me”, the album truly serves as an intersection for fans of almost any corner of the scene. Even those that sneered at the band or posted grouchy retorts on online message boards were probably secretly into this record, right?

Unlike many of our retrospective features, I’m not here to tell you what a deep emotional impact Homesick made on me or how it changed the way I listened to music. Instead, Homesick served its purpose in helping me put my guard down and drop my tendencies toward music snobbery. Sometimes music is at its best when it’s helping us have a good time, enjoy good company, and sing aloud with abandon.

That’s what I remember most about that Warped Tour performance. As Mike Hranica from The Devil Wears Prada joined the band onstage for the bridge of “I’m Made of Wax, Larry, What Are You Made Of?” and the crowd went absolutely bonkers, I remember being struck by how something so seemingly mundane could be so communal and joyful. A Day to Remember had a knack for breaking down walls between music fans of various genres and bringing them together. I’m glad I decided to join in on the fun.

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.

Filed Under: Features, News Tagged With: , , , , , , ,

Most Anticipated of 2019: #8 Blink-182 Go Back to Move Forward

January 9, 2019 by Leave a Comment

Blink-182 have been extraordinarily prolific since acquiring Matt Skiba on lead guitar. After an impressive first release in 2016 with the new lineup and a re-release double album in 2017, the band is due for a proper new record. Fortunately, Mark Hoppus and Travis Barker have been teasing for the better part of a year that a new Blink-182 album is in the works.

On top of that, Hoppus has claimed that the new music sounds similar to their legendary album Take Off Your Pants and Jacket. Although I doubt anything could be as seminal as that album at the time of its release, a return to the band’s roots is always welcome given the talents of all involved.

After proving that they were able to reinvent with California, a chance to reflect might be what is needed to propel Blink-182 to the next level of their already storied career.

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 could not be more excited for new music to tickle his ears in 2019.

Filed Under: Features Tagged With: , , , , , , , ,

Reflecting On: Fall Out Boy – Folie à Deux

December 20, 2018 by Leave a Comment

Like the other albums I’ve reflected on this past year, I was eleven (and completely oblivious) when Fall Out Boy’s album Folie à Deux was released. Now I’m 21 and, while there are some who still feel like this wasn’t their best work, I’m of the other camp that considers this to be one of Fall Out Boy’s – and the scene’s – best releases.

You can buy or stream Folie à Deux on Apple Music.

One reason people didn’t like it when it came out was because it wasn’t the hard-hitting, pop-punk follow-up to 2007’s Infinity On High. This is where I feel that listening to it later gave me an advantage. I never liked Fall Out Boy until my best friend basically forced me to listen to them. I’m pretty sure I didn’t even know that “Sugar, We’re Going Down” was their song. I know, it’s looking bad for me.

Anyway, with that major confession out of the way, I’m a big Fall Out Boy fan now. I even almost gathered up the courage to use “(Coffee’s for Closers)” in a high school music theory class presentation on Baroque music because of how the strings are layered at the end of the track. I played it safe and used a piece by Handel, but I legitimately regret not using the FOB song.

I wasn’t a huge fan of MANIA, but I guess that puts me in the same position that everyone who didn’t like Folie was in when it released. Now that everyone’s gotten over thinking Folie is weird or whatever, it took its rightful place (where all underrated albums should go) at the top of the fanbase. Maybe MANIA will make it there at some point, but at that point I’ll be 31 and won’t care (Ed. note: Yes, you will).

When I finally saw Fall Out Boy live this past August, they opened with “Disloyal Order of Water Buffaloes”, which was surprising to me. Folie is an album that has a lot of emotional baggage attached to it. I would understand if the band didn’t want to play any tracks from it again, because I’m sure it’s potentially salt in the beginning-of-their-hiatus wound. From a fan standpoint, though, I was disappointed that the only other track they played from Folie was “I Don’t Care”. It’s definitely selfish of me to want them to play songs written in the darker portion of their history, but I feel such a fondness for and an attachment to the album that I wanted it to have better representation.

I believe the experimentation that happened in the production of the album really brought the band to where they are today. If in 2008 they have released another Cork Tree or Infinity On High, I doubt they woud’ve come back in 2013, or in 2015, or just this past January. Maybe the fact that Folie wasn’t as popular as their past work was a blessing in disguise. I think they needed that lull in the action. It allowed them to take some time off and could be (should be?) seen as a sigh of relief rather than just a bad album.

Maybe it’s a bit of a cliché that I ended up being such a fan of Fall Out Boy’s best album. I think it’s their best because of where they were personally. Tensions were running high between the members, totally burnt out from their last, also very good, album. I feel like they realized they were over before they ever officially announced it and thus gave Folie à Deux their all. The vocals are some of Patrick’s finest, the musicianship is innovative, the guest vocals could fill a red carpet. It really does bring together all of Fall Out Boy’s best qualities and amplifies them.

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.

Filed Under: Features Tagged With: , , , , , , , ,

Victory Lap: Saves The Day’s Celebratory Tour

November 7, 2018 by Leave a Comment

“We wanna see you at our next show!”

Saves The Day was the first concert I ever went to. With a car full of people, we drove from Indiana to downtown Chicago to see the show on a school night. The energy and passion Chris Conley emanated had us talking about the show all the way home and for weeks after. Saves The Day were young and on the tail end of the their tour in support of In Reverie. Since then, I have seen them touring at least once during each album cycle.

Having just released 9, Saves The Day are on a victory lap. Celebrating 20 years as an incredibly influential band, Chris Conley is enjoying himself and looking back at his career on stage without the pressure of still ‘having to make it.’

Conley is allowing himself to take a step back, maybe for the first time in his career. Prior to this tour, I had only seen him standing in front of the mic, smiling while he sang and wailed on the guitar. Saves The Day have always been the ‘standard’ rock band to me. Though he doesn’t run across the stage causing general chaos, Conley has always commanded the audience through nothing but music. However, this tour is the result of Conley’s two decades of devotion and hard work. Aside from a few songs, he is mostly removing himself from the guitar this time. Instead, he is opting to sing and dance to the music that made him a legend. And he deserves it.

Kevin Devine

Following Conley’s cue, the opening sets were stripped down bands. An Horse opened the night as a two-piece that utterly destroyed the Bottom Lounge. Consisting of drummer Damon Cox and guitarist Kate Cooper, the Australian duo made enough noise for a complete four-person entourage. Sharing vocal duties, Cox and Cooper ripped through a set of impressively melodic indie rock. Including their new single, “Get Out Somehow”, they ended their set with a cameo from Kevin Devine on bass, offering a quick preview of his set.

Kevin Devine has been a big name in the indie scene for a long time. I’ve never been familiar with his music, but seeing him live proved why he has persisted on the scene. Equal parts indie star and rock icon, Devine confidently raged through political songs alone on stage. Pulsing through his electric guitar, Devine screamed, crooned and broke down in melodic guitar riffs to rapt applause. Finding an audience in politically motivated songs, Devine proved to be one of the leading solo acts in the scene by skirting the traditional topics of heartbreak and relationships. The passion and intensity of his performance was something that could only be accomplished by someone performing something they believe in.

Saves The Day’s Chris Conley

Saves The Day took the stage with five members for the first time that I have seen. With a new touring guitarist joining lead guitarist Arun Bali, Chris Conley took charge of singing and just enjoying the music. Sporting dark sunglasses and a jacket, Conley opened with his signature anthem, “At Your Funeral” before launching into a series of newer songs including “Suzuki”, “Xenophobic Blind Left Hook” and “Get Fucked Up”.

Taking at least one song from every album, the band didn’t lean as far into the pop punk scene that they helped create as much as they explored the continuing evolution of their music. Saves The Day’s setlist was a sample of their greatest hits that roared through classic punk rock and modern rock. At this point in their career, Saves The Day have left their mark on the punk scene forever and influenced multiple generations of artists. Nothing cemented this legacy more than the crowd watching the band.

Saves the Day

With the Bottom Lounge mostly full, Conley announced that the band’s seminal album Through Being Cool was 19 years old that day. And while they played some of the best songs from that record (“Shoulder To The Wheel”, “Holly Hox, Forget Me Nots”), they didn’t dwell on it. Each time a classic song like “Rocks Tonic Juice Magic” or Stay What You Are’s “Freakish” came on, the younger generation began excitedly crowd surfing and opening a pit. However, fans who have followed the band for years are still showing up, just as excited as ever. As the opening lines of “Side By Side” from 9 started, a bald man in his 40’s literally threw his arms up in the air and shouted in joy.

Saves The Day are undoubtedly one of the most important bands in punk rock today. Their fanbase has grown with them and continued to expand with younger crowds throughout the years. Chris Conley has managed to navigate the harsh landscape of music and managed to stay relevant to the point that he can finally enjoy the fruits of his labor by just listening to his own music and enjoying it the same way his own fans do – by singing along and dancing until the next album.

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 really just… ate far too much macaroni.

Filed Under: Events Tagged With: , , , , , , , , , , ,

Review: Saves The Day – 9

October 31, 2018 by Leave a Comment

“Turn it up, we’re Saves The Day!”

Saves The Day have written a theme song for themselves. If that sentence makes you happy, you will love their latest endeavor, 9. The new album celebrates Saves The Day’s 20th anniversary as a band by delivering an incredibly meta album. 9 tells an oral history of the band that explores as much new territory as it merges the sounds of Through Being Cool and Daybreak. For new fans, this album might feel utterly alien and hard to access. However, 9 is an album aware that it is an album. But it is also a massive thank you to anyone who has taken the time to ever listen to Saves The Day at all.

You can buy or stream 9 on Apple Music.

This era of Saves The Day is a different beast than the band of the mid-2000’s. Singer/ songwriter Chris Conley is in a zen place that emanates positivity. Conley is stoked to be writing this record. After 20 years in the game, anyone even remotely familiar with pop punk knows who Saves The Day is, and Conley knows it. Every song reflects on two decades on the road, stories from the band’s start in the late 90’s and telling the fans directly how much they love them.

What makes 9 special is that the record knows what it is. It is essentially a mini double album that tells fans of Saves The Day “Thank you” every chance it gets. Each song is an experiment in rock that gives a small history of the band and is a message of appreciation for the support throughout Saves The Day’s career. The first eight songs are an album unto themselves, while closing song “29” is a 21-minute epic that takes a more surreal approach to the same topic.

Opening track, “Saves The Day”, is now the band’s official theme song, much in the same way that The Monkees have “(Theme from) The Monkees”. It’s remarkably on the nose, ridiculous and ungodly catchy. The first time you hear, “You know we love it when you sing along / Turn it up, we’re Saves The Day”, you want to roll your eyes. By the end of the song you’re singing along. Punctuated by a double layered guitar solo, “Saves The Day” feels like it was pulled from an updated version of Ups And Downs: Early Recordings And B-Sides and should have been opening up live shows for years by this point.

The rest of 9 plays as a mini oral history of the band. “Suzuki” sounds like a Sound The Alarm song ripped straight from Can’t Slow Down. With harsh bass and ripping guitars, Conley reflects, “On a black and red couch playing a burgundy Les Paul / I played on Can’t Slow Down so many years ago / Writing album number 9 right now”.

While some songs sound like B-sides from previous albums (“Suzuki”, “1997”), others forge utterly new ground. “Kerouac & Cassady” is a simple song with a melody reminiscent of The Black Keys. As the guitars rage from verse to chorus, Conley reflects on the drag of touring nonstop. “Groundhog Day on a loop on a five hour flight / Wednesday sleepwalk around backstage when 10:10 flashes in neon green / Drown in silver light before a four-hour show”.

Near the end of the record is “1997”, a song influenced by classic rock as much as it is Saves The Day’s most recent punk offerings. It’s a hybrid song that encapsulates the band’s 20-year legacy as Conley sings, “20 Years go by like pages from a calendar blowing in the wind / Under highway signs and f‌lashing lights and fading stars and black nights / Days turn into years and seconds last longer than decades fall like sand”.

Album closer “29” is an epic, the likes of which is almost unseen in the genre today. Essentially seven songs combined into one piece, “29” is more or less the other eight songs of 9 combined into one surrealist piece. Not as direct as the rest of the album, “29” tells the same story as the first eight songs in a massive piece that presents 9 as a “classic” Saves The Day album.

“29” is a song that hides an insane amount of Easter eggs for fans of Saves The Day to look for. References to “Shoulder To The Wheel” and “Morning In The Moonlight” not withstanding, “29” feels like an updated version of “Daybreak” that follows the course of Saves The Day’s career.

The sound of “29” changes every three minutes. It’s something that creates a sense of typical pop punk songs while maintaining its own identity compared to the rest of the album. Retracing the rest of 9 step-by-step, “29” reflects, “Put the record on, blow the speaker up / Tear the dial off, push the pedal down, 99 on the 101 / Flip it over come on sing along”. “29” is reminiscent of songs like “Jessie & My Whetstone” where vague imagery creates a specific story that is pieced together by the listener. Conley describes incidents such as an almost fatal van accident, (“We were driving in my mother’s car / Chicago-Minnesota overnight / Over the frozen overpass over black ice”) or a rift between friends (“Turning all my friends into your allies / Might have been born in a crossf‌ire hurricane / But don’t think twice it wasn’t yesterday”).

9 is an album that will mean a lot to longtime fans of Saves The Day, though may be hard to jump into for new fans. The album is a thank you note to fans that plot the biggest events in Saves The Day’s career over the last 20 years. It can be a bit on-the-nose as much as it is a dreamy summary of Saves The Day. Regardless, 9 is a true celebration of a band that doesn’t back away from the absurd, and has the confidence to make fun of its own legacy as much as it cherishes it.

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 lives less than a mile from where he first saw Saves The Day, his first concert. This nostalgic zilch really dived face first into this album without concern for neighbors or loved ones. Please help.

Filed Under: Reviews Tagged With: , , , , , , ,

Review: Justin Courtney Pierre – In The Drink

October 15, 2018 by Leave a Comment

Despite the mounting evidence, Justine Courtney Pierre is fun. His musical career has been a series of self deprecation and hapless attempts at romance set to the tune of upbeat synth pop. That’s why it makes sense that his first solo outing, In The Drink doesn’t stray too far from familiar territory. In fact, it feels reassuring to know that Motion City Soundtrack’s lyrical content came from a place so honest that it follows through to his own music.

You can buy or stream In the Drink on Apple Music.

It is going to be impossible not to compare Pierre’s first solo album to Motion City Soundtrack. The album is still a pop rock album filled with dreamy lyrical downers. However, this is the first time Pierre has allowed himself to truly experiment with sounds. Produced by former Motion City guitarist Joshua Allen Cain, Pierre adds more garage influences to an otherwise MCS styled album. Be it the faded drumming and horn section of “Undone”, the fuzzed guitar nightmare of “Goodnight Hiroyuki”, or adding influences from Weezer’s Pinkerton to Motion City’s My Dinosaur Life to create a pop rock chimera like “Anchor”, Pierre somehow surprises as much as he plays to his base.

Perhaps most surprising is the fact that Pierre himself plays every instrument except for drumming duties, which are handled by David Jarnstrom (Gratitude, BNLX). Pierre’s lead and rhythm guitar sections are as hypnotic as anything he’s ever done. He truly finds a career-spanning range from the soft pop of Even If It Kills Me in “Moonbeam” to the raging guitars of My Dinosaur Life in “In The Drink”. Perhaps most surprising is how much his bass lines pop and stand on their own. At times, the bass threatens to overtake the lead guitar as the main instrument (“Ready Player One”, “Shoulder the Weight”) in surprisingly diverse ways.

Pierre himself remains as versatile as ever. While his vocal range doesn’t attempt anything new, he remains one of the most impressive singers in pop punk. Silky smooth, Pierre manages to sound both relatable and impressive as his imagery-filled lyrics slide off of his tongue. Subtle wavers of the voice (“I Don’t Know Why She Ran Away”) and confident bellows (“In The Drink”) fill the album. While he doesn’t sound like a choir boy, it’s absolutely impossible not to want to sing along because you feel like you can.

Thematically, In The Drink is on par for anything else Justin Pierre has written. On the opening track, “Undone”, Pierre admits, “Hey, I won’t leave the party today / I have nothing new to relate / There is only sadness, it always ends this way”.

“I Don’t Know Why She Ran Away” feels like a sister song to the Motion City Soundtrack staple “Her Words Destroyed My Planet”. Not quite as lively, the song still revolves around a man trying to put the pieces together about a broken relationship with Weezer-esque guitars raging behind the vocals. “Don’t stay. Baby please stay, you can’t stay / Every night of my life ends the same way / I want to. I don’t want to. It’s both true / Why can’t I figure this out?”

However, Pierre isn’t constantly in the ditch. “Ready Player One” sees him coming to terms with himself and finding balance with his demons, even in the midst of relationship turmoil. “Think what you will I was never as bad as they say / Okay maybe I was but back then I was outta my mind / And I’m all quips and chatter each quivering section of spine / And I’m here to it, here like I never could ever before cause I was afraid, but now I’m ready”.

In The Drink is the next logical step for Justin Pierre, even if it sounds like the next Motion City Soundtrack album. Aggressive, experimental and familiar, Justin Courtney Pierre delivers a hell of an album, even if it’s somewhat expected. What makes In The Drink so spectacular is the fact that it justifies every song Justin Pierre has written and shows not only how authentic Pierre has been throughout his career, but how close to the vest Motion City Soundtrack was through their lifetime. Whether you’re discovering Pierre for the first time, or coming for the nostalgia, In The Drink is an album that we’ve been waiting for.

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 accidentally let his apples go bad. Who does that? Has anyone ever bought TWO APPLES and gone, “No, I’ll hold onto these until they rot”? Literally no one until today.

Filed Under: Reviews Tagged With: , , , , , , ,

Reflecting On: Saves The Day – Saves The Day

October 3, 2018 by Leave a Comment

In 2013, I was brand new to Chicago. It was a scary move, but I thought I had made it for the right reasons. My first job here was a painfully boring temp job that left me feeling remote and empty, even compared to my new friends who worked menial jobs. Feeling rejected from an avalanche of unanswered job applications, I would drive alone as the summer sun baked the feeling of regret into my head under the glare of expressway signs, and I wondered how it would ever get better.

You can buy or stream Saves the Day on Apple Music.

When Saves The Day’s self-titled album released that fall, I was ready. I had backed its PledgeMusic campaign earlier that year, listening to the first single, “Ain’t No Kind of Love”, an energetic song about a breakup, with a pure hunger. The chorus was exactly what I was going through, as Chris Conley sang, “For right now, to now make it through the long day, is okay / Tomorrow, when anything can happen, try again”.

I truly anticipated an album from one of my first musical loves that would let me bask in my oncoming depression without guilt. Instead, Saves The Day unexpectedly lifted my spirits.

For almost 20 years, Chris Conley was a flag bearer of the emo movement. He never shied away from diving headfirst into the fragility of the human spirit. The three albums before Saves the Day were a trilogy that tackled depression and the depths it can actually go. His songwriting is morbid, but captivatingly catchy.

With the release of Saves The Day, an album bearing the name of the band itself, it felt like a shock to the system to discover that it was a positive album. Despite being released at the start of fall, it was a pure summer album, complete with cover art of a bright orange grapefruit. Similar to how In Reverie stunned fans with a change in style, Saves The Day was a full thematic shift. Instead of glorifying loneliness, Saves The Day is an extremely loose ‘concept’ album about two people falling in love through a chance encounter outside of a bar and reflecting on the good and bad of their lives after years of happy marriage.

Saves The Day was the first album by the band that wasn’t burdened with expectation. There just wasn’t a need to compete with the emo wave of the early 2000’s or attempt to recover ground after the backlash of a stylistic change. Instead, it used the harsh guitars of the Daybreak trilogy of albums to forge a new identity.

After 15 years, to hear a real love song from Conley felt extraordinarily out of place. This was someone who wrote songs like “The End” from Sound The Alarm (“I’m a danger to myself / Always blaming someone else”). But here he was, singing “Beyond All of Time”. It’s the first slower song on the record, with an enchanting chorus of, “Together forever tonight / I’ll always be right by your side, tonight / I love you beyond all of time”.

The true peak of the album is the dual lineup of “Verona” and “Ring Pop”. “Verona” tackles the struggles of a relationship. The verses hint at the fights and sacrifices a couple have to go through against harsh guitars and a depressing drum beat, only to launch into a gloriously hopeful chorus of, “After the end when he tells her he loves her / She promises not to let go / They hold on to hope”.

Immediately following this is “Ring Pop”, arguably the happiest pop punk song of all time. The song radiates with a sappy and childlike wonder of love, and caps off the theme of the record in an incredibly uplifting arc unlike anything else Saves The Day has ever written. “Born on opposite coasts for the two of us both / Knowing in 20 years we would not be alone / Might have made us a pair of zen-like two-year-olds / With a couple of ring pops, no need to propose”.

Saves The Day drastically helped curve my depression for some time as I struggled to adjust to living in Chicago. If Chris Conley, a poster child of dark songs, could find happiness, so could I. That is also when I finally noticed the last line of the chorus from “Ain’t No Kind of Love” that I had somehow missed on each listen since the song was released. Suddenly, the album made sense, as did my outlook on where I was going. “For right now, to now make it through the long day, is okay / Tomorrow, when anything can happen, try again / Until then keep on breathing / The love you long to know is within”.

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 killed a spider with a broom while writing this. He is brave and a hero.

Filed Under: Features Tagged With: , , , , , , , ,

Reflecting On: Saves The Day – In Reverie

September 18, 2018 by Leave a Comment

In the early 2000’s, Saves The Day were the poster child of the emo scene. Stay What You Are had set the scene on fire early into the new millennium. With expectations high, In Reverie defied them in every possible way. And fans hated it. Singer Chris Conley’s new, high pitch vocals caught everyone off guard. The dreamy lyrics were a far stretch from the desperate lyricism of the band’s past records. Fifteen years later, In Reverie is held in much higher regard within Saves The Day’s body of work, and, unfortunately, largely forgotten.

You can stream In Reverie on Spotify.

Both Through Being Cool and Stay What You Are seemed like required listening for anyone developing a sense of music. Aggressive pop punk and restrained rock, respectively, they showed alternating sides of the same band and a maturity in songwriting that few bands successfully manage. Especially after Stay What You Are, arguably one of the most popular albums of the time, the wait for Saves The Day’s next record was excruciating.

In Reverie felt different right away. It was the first album cover to feature a painting instead of a high school inspired photograph. The CD itself was a bright, tangerine orange. Before even pressing ‘Play’, it warned you to be prepared for something new.

“Anywhere With You”, one of the few singles from the album that remains a live staple, broke out with harsh, fuzzed guitars as the back drop for Chris Conley’s new vocal style. In retrospect, it’s not that big of a jump. However, at the time of release, it almost sounded like a brand new singer had taken over. Not nearly as nasally, Conley was crisper and more relaxed as his pitch edged upwards.

In Reverie also marked the beginning of the modern Saves The Day ‘sound.’ It established the tight melodic pop song formula that would become the staple format of the band moving forward. While it would take the next album, Sound The Alarm, to firmly mark the occasion with aggressive guitars, In Reverie experimented with more relaxed songwriting.

Songs like “Monkey” played with loud and soft melodies, refusing to lean too far one way or the other. “Wednesday The Third” rediscovered the dark guitars, but let Conley’s vocals explore the musical scale and harmonize off of himself.

While other albums would return to the pained existential lyricism of the band’s first few albums, In Reverie played around a bit more. While there are certainly songs pertaining to the pains of relationships, (“Anywhere With You”) or emotional turmoil, (“In My Waking Life”), there were many more songs with fanciful lyrics that don’t seem to hold much meaning other than being fun to sing.

“Morning In The Moonlight”, one of the few absolute jams on the album, delves deep into this aspect. There’s little to take away from the song other than the lyrics are just a blast to sing out loud. “Madness ensues, swimming in ocean blues / The dream-dripping sky covers my insides / The moonlight in the morning sun sends shivers over my skin / The memories are slowly slipping and I’m sailing against the wind”.

It took a few years for In Reverie to actually be discussed positively. My friend group largely ignored the album until after the release of Sound The Alarm. Conley himself stated it was his favorite record in various interviews, but acknowledged that critical reaction to it had caused a course correction. Sound The Alarm and Under the Boards were largely written as a response to In Reverie. The guitars immediately became more aggressive and the lyrics grew darker. It was a stylistic approach that appealed to the imagery of past songs, like “As Your Ghost Takes Flight”.

Looking back on it, In Reverie isn’t as drastically different from Saves The Day’s discography as it sounded upon release. It seems to fit into their body of work musically better than Stay What You Are in many ways, even if it still stands out lyrically. Many of the same people who initially hated the record now regard it as their favorite album. However, it still remains the black sheep of Saves The Day’s history. Songs from it rarely seem to be played live, and it seems rarely discussed. It’s a shame, because the album is such a cornerstone of the last 15 years of the band’s history.

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 just dropped two eggs on the floor, accidentally creating the worst breakfast this side of the Mississip’.

Filed Under: Features Tagged With: , , , , , , , , ,

Review: Fall Out Boy – Lake Effect Kid

August 28, 2018 by Leave a Comment

fall-out-boy-2018

It’s a cliché at this point for bands to try to rediscover their roots or pay homage to their hometown. However, Fall Out Boy’s Lake Effect Kid EP is one of the few that feels genuine. Brief as it may be, these three songs not only form a love letter to Chicago, they offer a brief history of the band’s evolving sound. What could have easily been a quick gimmick is actually a near essential piece that quickly and unapologetically shows Fall Out Boy paying attention to their own legacy.

You can buy or stream Lake Effect Kid on Apple Music.

“Lake Effect Kid” is a B-Side that has made the rounds online for quite some time. Without a proper release or context, it could be easy to overlook. I have often enjoyed the song, but understood why it had been cut from Infinity On High or Folie à Deux. However, this new mix sounds more refined and complete. Additionally, when paired with “City in a Garden”, the song takes on more body, context, and heart.

“City in a Garden”, though it may be a Chicago-centric love fest, is arguably Fall Out Boy’s most accessible and singable single since “Thnks fr th Mmrs”. Oozing with nostalgia, hooks, and dreamlike drumbeats, “City in a Garden” is for Chicago what Jason Mraz and the Red Hot Chili Peppers are for California. While it sonically sounds like a ballad off an older release, the synth and beat are distinctly part of FOB’s new era. “City in a Garden” manages to encapsulate almost every aspect of Fall Out Boy that could make a person fall in love with the band.

Lake Effect Kid’s biggest strength is how reflective it is, while still pushing ahead for the band. “Lake Effect Kid” is the pop punk older fans have been craving for years. “City in a Garden” is the kind of pop song the band couldn’t have written even a couple of years ago without the experience they have now. Meanwhile, closing track “Super Fade” moves forward with experimentation in a place that won’t ruin the flow of a full album. Borrowing heavily from the divisive single, “Young and Menace”, “Super Fade” sounds like a slip-up of a song. However, this EP is the ideal place to work out the kinks of this style of songwriting.

Lake Effect Kid not only pays homage to Chicago as the band’s stomping grounds, it pays homage to their past work. The EP is an answer for anyone who has claimed that the band sold out their sound over the last few albums. Equally as exciting, it shows Fall Out Boy’s willingness to look back on themselves with the same reverence and enthusiasm they’ve shown when looking forward.

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 makes a gosh darn good apple pie.

Filed Under: Reviews Tagged With: , , , , , , , , ,
Next Page»