Reflecting On: Motion City Soundtrack – My Dinosaur Life

“I stall before I start.”

Motion City Soundtrack is a band that is loved by different people for different lyrics, different sounds, and remarkably distinct albums. There is an argument to be made that any one of their albums is the highlight of the group’s career, but none offers more evidence than My Dinosaur Life (2010). While earlier albums danced around the pop punk scene by testing the boundaries of pop and rock music, My Dinosaur Life unabashedly amplified every aspect that made them great. The result is a loud neurotic mess of sound that defined who Motion City Soundtrack are and cemented their legacy in an overcrowded Warped Tour field.

You can buy or stream My Dinosaur Life on Apple Music.

As this album turns 10, I find myself in a position where I can relate to its themes more than ever. Feeling left behind by a world you’re still a part of, trying to improve yourself for the benefit of all, and realizing it took you way too long to do it. If My Dinosaur Life has one message to offer, it’s that it is never too late to be your best.

My Dinosaur Life is the album that made me feel okay for having a mind that jumps from topic to topic, seemingly beyond my control. Even in my most uncomfortable and heartbroken moments, I make jokes to ease the oncoming sense of doom. From song to song, singer Justin Pierre jumps from one thought to the next with grace, humor, and the humility to ask his audience to forgive him for being all over the place.

My Dinosaur Life was a statement on the idea of feeling left behind. After gaining some moderate success with the release of Commit This To Memory (2005), the band seemed to take noticeable backlash for just how poppy Even If It Kills Me (2007) was, even though the album is highly regarded now. For a brief moment, Motion City Soundtrack seemed like they had outlived their longevity in the music scene. My Dinosaur Life revitalized the band both in career and spirit.

“The things that used to mean so much to me /

Have gone the way of dinosaurs /

Hopes and dreams and everything”

My Dinosaur Life plays off of the theme of improvement. Every song feels like a short story about admitting one’s own faults and, maybe for the first time, asking for help to become better. “A Lifeless Ordinary (Need a Little Help)” states this most directly (“I think I can figure it out / But I’m gonna need a little help to get me through it”).

“Her Words Destroyed My Planet” is one of the best songs written in the last decade. It’s a raw confession of someone admitting that their significant other’s frustrations with them being an underachiever have finally been realized. The song is an admission that despite trying to improve themselves in a variety of ways, it was still too little, too late, even if they like who they are now better than before.

These pleas for help and proclamations of improvement are interwoven with the overwhelming feelings of hopelessness that often coexist when we seek to be better. “Skin and Bones” asks the void an absurd amount of questions, as though trying to relieve themselves of a panic attack (“What if consciousness can expand / And we fool ourselves with absurd demands? / What if there is no point at all? / We just grow up to fade away…”).

Although My Dinosaur Life seems to dance back and forth with the idea of admitting one’s own faults and promising to be better (“Stand Too Close”), it balances itself taking pride in hard work and emotional health (“Worker Bee”).

It’s important to work to be better. But it’s just as important to do it for the right reasons. In “The Weakends”, Pierre reflects on a life spent wasted on not being his best, of dreaming about the future when he could be living it. “As the years go crashing by / I think of all I’ve pondered / So many minutes wandered / So many things undone / I’ve tried to figure out / How many lives I’ve wasted /  Waiting for the perfect time to start”.

My Dinosaur Life is as close to a perfect album that I can think of. It passes a message that everyone learns at some stage of their life with a mix of humor, self immolation, and hope. But most of all, it asks you realize when you’re not the best you can be. That’s all it takes to deserve a gold star.

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 hates olives and everything that looks like an olive. He bit into a chicken salad sandwich expecting the sweet taste of cranberry and instead was betrayed with a mouthful of these poison grapes. If you know anyone who eats olives out of a jar, he asks you to pray for them, as that is the only way they can be saved now.

Most Anticipated Music of 2020: Hayley Williams Introduces Petals for Armor

It’s no secret that the past album cycle for Paramore has been a rollercoaster. Between the highs of re-becoming friends with Zac Farro and the lows of her divorce from Chad Gilbert, Hayley Williams has really been put through the wringer. Like any artist, she’s taken these experiences outside of Paramore and transformed them to release her first official solo project, “Petals for Armor.”

We have only a project title, no single, no album confirmation, but that’s all right with me. We have a release date of ~something~ for January 22, 2020, along with some very cryptic posts on the Petals for Armor Instagram account she made for the occasion. The title for the project seems to refer to an interview Hayley did where she recalls being in a session and envisioning “flowers growing through her”.

As much as I’d love Paramore to continue on until the end of time, I’ve learned as I’ve grown up that it’s more important for artists to be healthy and that the art they create be honest and something they’re proud of. And more than ever, that’s something Hayley Williams deserves.

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 Music of 2020: Another Dose of Anchor & Braille

It’s been a very long time since we’ve heard anything new from Stephen Christian’s side project Anchor and Braille. The past three albums from the band are the other side of Stephen’s musical coin. In Anberlin we have the heavy-hitting rock, but with Anchor & Braille we have a softer, sultrier, synth-ier side. They’ve released three albums since 2009, and 2016’s Songs for the Late Night Drive Home has been a staple for me. I’ll admit I’m ready for something new.

We first got an inkling some things were moving around when Stephen posted on the Anchor & Braille Instagram for the first time since May of 2018. He then posted three consecutive photos with the distinctive Anchor & Braille use of the French language, as well as something that said “Frank Ocean” and a photo of the record deal. Stephen stated in his podcast, The Art Collective that he’d like to make another album with Aaron Marsh, which leads me to theorize a return to Tooth and Nail à la Copeland?

Whether it’s an EP, an album or a film, I’m excited to see Stephen Christian come back into the music world. Seeing Anberlin play live again was a dream come true and renewed my faith that we would hear new music from the guys again. Even though it might not be Anberlin-proper, and that may be something we never get, I’m so looking forward to new music from my all-time favorite side project.

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.

Emarosa Release New Single “Ready to Love”

One of the most criminally underrated albums to be released so far in 2019 has to be Peach Club, a record that saw post-hardcore mainstays Emarosa undergo a full pop transformation. Released in early February, the album is full of synthpop and 80s influence and provides a new canvas for vocalist Bradley Walden to strut his stuff.

Last week, just in time for the band’s upcoming headline tour, Emarosa dropped “Ready to Love” – a new single that expounds on all of the promise contained within Peach Club. It’s a smooth track with a brilliantly emotional hook from Walden. Take a listen below.

Dates are selling out for the upcoming Peach Club Tour. Check here to see if tickets are available when the band stops through your city.

What’s your favorite song from Peach Club? Share in the replies!

Posted by Kiel Hauck

Review: The Early November – Lilac

I read once that The Early November chose their name because, much like that time of year, they changed their sound as often as the late seasons. I have no idea how true that actually is, but it has always rang true to me. The Early November have altered and changed from album to album, never staying with one sound for too long. The only constant is the emotional vulnerability that every song brings. Lilac brings not only the biggest change to the sound the band have developed after almost 20 years, it is quite possibly the most robust album the band has delivered since The Room Is Too Cold.

You can buy or stream Lilac on Apple Music.

Lilac is a stylistically diverse album, a fact it presents almost immediately. The Early November manage to juggle the sound of punk rock, Fall Out Boy-lite pop elements and incredibly intricate instrumentation. The flourish of trumpets or the somber whale of a french horn pepper into songs and constantly surprise the listener. The lilac flower is a symbol of innocence, and it shows across the album with tales of finding the lowest of emotional depths, only to pull yourself together. In the end, Lilac is an album of redemption.

Vocalist and songwriter Ace Enders pushes the sound of the band further than ever before. No two songs sound alike and each flows seamlessly to the next. Guitarists Bill Lugg and Enders find a variety of sounds from punk rock (“My Weakness”) to twinkling indie rock (“Hit By A Car (Euphoria)”) to dance riffs that act as a background to the rest of the instrumentation (“Fame”). Bassist Sergio Anello rips through a series of deep riffs (“My Weakness”) while multi-instrumentalist Joseph Marro’s piano and guitars layer thick (“You Own My Mind”). Drummer Jeff Kummer keeps pace with Enders, varying from intricate dance beats (“Perfect Sphere (Bubble)”) to deep melancholic bursts (“I Dissolve”).

Enders himself delivers a vocal performance different from any past release, whether that be with The Early November or his solo project, I Can Make A Mess. He pushes his vocals to shout and croon (“Hit By a Car”), enters the realm of pop (“Fame”; “You Own My Mind”), and almost whispers melody (“The Lilac”).

Opening song “Perfect Sphere (Bubble)” quickly sets Lilac apart from TEN’s discography. The energetic pianos, etherial guitars and Enders’ angelic croons deliver a sound that stands out against the moody rock of years past. “My Weakness”, a garage rock jam with a bridge and chorus that hint at what it would be like to hear Taylor Swift write a punk song, especially with Enders’ styled squeak during the chorus.

“Ave Maria” dances through an uplifting beat as Enders reflects on letting himself and a loved one down (“I thought if I looked nice, I would feel nice / And you would see me right, you would see me right / But it was an old lie, it was a cold lie / It was a long night.”). But for each downer, Enders weighs it with one of hope, such as the moody “Our Choice”. The song wrestles with the idea of addiction, as he swings back and forth between feeling enslaved to it and fighting back. “There is a choice to be alive, when failure keeps you up at night / So every morning, I will try / I will never stop the fire / I have a choice to be alright”.

The Early November constantly shift and push themselves in directions that no one sees coming. But consistency isn’t needed with a band so confident in themselves. Lilac bucks every expectation placed upon it, and steps away as one of the fullest albums The Early November have ever written. It demonstrates just how much the group can adapt and shift, but never remain predictable for long.

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 just realized his air conditioner is running even though it is like, 50 degrees outside. What a silly goose he is.

Podcast: Summer 2019 and the Death of Genre

This year’s song of the summer is undeniable, but what does it tell us about the future of music? Evan Sawdey of PopMatters joins Kiel Hauck to break down the success of “Old Town Road”, the rise of Billie Eilish, and the odd absence of some of pop music’s biggest stars on the charts this summer. They also discuss Taylor Swift’s new album, Lover, break down their “deserted island discographies,” and share their most anticipated albums set to release in the back half of 2019. Listen in!

Like our podcast? Come join the conversation on Flick Chat.

What was your song of the summer? Share in the replies!

Posted by Kiel Hauck

Review: Melanie Martinez – K-12

When I think of controversy in music these days, I immediately think of Billie Eilish. Her album was unique and her videos are provocative. Even the way she dresses has made headlines. But before Billie released When We All Fall Asleep, Where Do We Go?, there was Melanie Martinez. She started as a contestant on season 3 of The Voice, auditioning with Britney’s “Toxic”. She didn’t win, but that appearance catalyzed a career that made it possible for artists like Billie to push the boundaries they do.

You can stream K-12 on YouTube.

Melanie released her first album, Cry Baby, in 2015, then went on to direct and star in music videos for all 13 tracks. The album covers issues like abuse, alcoholism and kidnapping. You name it, Melanie has written about it. The album tells the story of a girl named Cry Baby and her childhood. It took me some time to get into her style – the original horror-trope filled pop, disguised in the color pink and cupcake frosting – but eventually, at the prompting of a friend, I bought the album. Melanie was accused of sexual assault in 2017, although not criminally charged. She was very quiet while all of this happening, leaving social media, as well as leaving fans wondering whether she would ever release more music.

This past May, she became active on social media again and announced that she was releasing an album/film combo called K-12. It would continue the story of her alter ego Cry Baby to a boarding school with ulterior motives. It was released to YouTube on September 6th.

The album opens with “Wheels On the Bus”. She talks about how adults don’t tend to take adolescents seriously and about some of the activities teens partake in, casual sex and drugs being her choice examples. This album is much more mature than her last album from a lyrical standpoint. She seems to have taken into account the sensitive nature of her lyrics and toned it down. She hits on a lot of heavy subjects, but none as violent as tracks from her last album like “Sippy Cup” or “Tag, You’re It”.

“Class Fight” is about bullying, but in the film, there’s a moment that starts to show the project’s true intent. The class is told to stand for the pledge and a young African-American boy refuses. He says, “You hear that? Liberty and justice for all? That’s BS.” His dissenting voice is quickly silenced by school authorities, and it’s a nod to civil rights and another stab at the idea that children aren’t as wise as the authority around them.

The girl, Kelly, mentioned in “Class Fight” is another antagonist in the film that serves to further the tracks about body image, “Strawberry Shortcake” and “Orange Juice”. The latter is a very poignant track about eating disorders. “Show and Tell” is about Melanie’s experience with fame, and the idea that she’s a person, not a puppet.

Each track is obviously pivotal to the film, but as an album, the project feels long. She sings about so many things that it can feel bombarding, and after a while (before watching the film), I didn’t really know which details to focus on. I’d much rather sit and watch the hour and a half long film. The album alone kind of feels like listening to The Phantom of the Opera soundtrack without ever seeing the Broadway play. The film is free to stream on YouTube, and with its beautiful cinematography and choreography, it’s well worth the timestamp, and ends on quite the cliffhanger. As for future plans, Melanie stated in an interview that she’s planning on producing two more films.

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 Regrettes – How Do You Love?

Music videos are dead. The last video that caught my attention enough to follow the band was OK Go’s “Here It Goes Again” (and every one since then). But when a video catches you correctly, it can spawn a lifelong love for the band. I still remember where I was when I saw the iPod commercial featuring The Fratellis’ “Flathead”. I thought those days were dead. But sometimes, magic strikes out of nowhere. Such is the case with The Regrettes.

You can buy or stream How Do You Love? on Apple Music.

Like The Fratellis, after seeing their video for the single, “I Dare You”, not only did I count down the days until the release of their sophomore album How Do You Love?, but the single that hooked me turned out to be one of my least favorite tracks when compared to the rest of the album. The Regrettes are a force to be reckoned with, and they’ve only just begun.

“I Dare You” is a great song that is paired with an infectiously creative music video. But it doesn’t convey the power behind the rest of the album. How Do You Love? is a tamed rock album that feels just as confident behind power chords as it does the quiet reflection on the chaos of relationships. On a weird level, How Do You Love? is an awkward concept album about the glorious feelings and dreadful lows of falling in love. The energy behind the music conveys the feelings enough to feel the pulse of budding romance. Just try not to feel butterflies while listening to the anxious energy of “California Friends”.

Guitarists Genessa Gariano and Lydia Night sway effortlessly as they blend raging garage punk, giddy pub rock and tender acoustics (“How Do You Love?”). They manage to harness a balance in songwriting that rests comfortably between the indie sound of Rilo Kiley and The Hives’ frantic need to kick down a wall, while still sounding unique from either. Bassist Brooke Dickson threatens to steal every song (“Here You Go”), and drummer Drew Thomsen keeps the songs playful and attentive (“Dress Up”).

Vocalist Lydia Night is at home maintaining a balance that is equal parts punk and quietly contemplative. She adjusts song from song to portray the high or low of falling in love, but never loses attention. “California Friends” explores the awkward touch and go of attraction and the electrifying feeling it gives, as she sings over fuzzed guitars, “Check out this band from California / I can make you a playlist of their songs / Won’t you come and hold me close now?”

“Coloring Book” finds that breathless sensation of being completely overtaken by someone else. An amped acoustic song, Night emotes against the silence as much as the music as she sings, “I can’t believe you’re sitting next to me / Just open up your eyes and tell me, what do you see? / Do you see somebody looking back at you / Or do you see somebody that’s in love with you?”

Meanwhile, the title song, “How Do You Love?” harnesses the pub rock aspect as Night laments not understanding what it takes to keep a relationship, despite the intense feelings that cropped up throughout the album (“It’s the little things I can’t understand / How they love, lie, pass it, and keep holding hands”).

The Regrettes are an impressive young band. How Do You Love? is an album that bases itself on the most basic of premises (a rock album about adolescent love) and still manages to hang with the best of bangers. It’s the type of album that makes you think rock can still be a mainstream hit. More importantly, it’s the type of album that friends bond over and draws people to music.

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 petting the head of a toy Tyrannosaurus Rex instead of his cat. He regrets nothing.

Review: Taylor Swift – Lover

Photo by Valheria Rocha

What I appreciate the most about Taylor Swift is the “re-watch value” of her music. Every new single is almost guaranteed to annoy me on first listen (“ME!”), but in the context of the album itself, become something great. Lover, the seventh album from Swift, is no exception. There is so much to unpack throughout the 18 tracks that one listen can’t possibly be enough to take it all in. What stands out the most about Lover is that it lives and dies by making the listener feel jubilant until the very end.

You can buy or stream Lover on Apple Music.

Lover seemingly picks up where 2014’s 1989 left off—sizzling synth, lyrics dripping in romance, and a bright feeling leveled throughout each song. There isn’t much of a hint of Reputation’s aggressiveness to be found on the surface, save for the opening track (“I Forgot That You Existed”). Looking deeper into the songs though, there is a refinement to her writing that takes shape from Reputation. Lover is, for perhaps the first time, a true mix of all of Swift’s past releases. The poppy synth blends with deep R&B beats, while Swift’s classic twang peeks through her vocals from time to time. Occasionally, songs like “Lover”, which relies on piano and guitar, crank up the nostalgia of her storied career.

Impressive in its own right is Swift’s use of minimalism in her music. She allows the quiet to be an instrument itself behind her smooth vocals (“Cornelia Street”) along with haunted, hushed instrumentation. At other times, a very simple wall of melody lays the bed as a surface for her vocals to jump on (“The Archer”). Meanwhile, “Cruel Summer”, a layered pop jam that chronicles the hesitancy to be vulnerable in a relationship, bounces on its own as a hit single waiting to happen.

Intentional or not, discovering songs that feel like follow ups to stories / songs from past albums is an unexpected joy. The hypnotically cheerful “Paper Rings” follows a simple dance melody and bouncing bass that sounds like a sister song to Red’s “Stay Stay Stay”, a song steeped in cheesy romance so strong it forces a smile. Lead single “ME!” (Featuring the masterful Brendon Urie) is already noted for its marching band-inspired beats and cheer section, reminiscent of the self-empowering “Shake It Off”.

If there is a theme to Lover, it’s one of hope. The album tells many stories, each looking forward to a happy future. “Cruel Summer” hints at the blossoming love between two people (“I scream, ‘For whatever it’s worth / I love you, ain’t that the worst thing you ever heard?’ / He looks up, grinning like a devil”).

“Miss American & The Heartbreak Prince” is the one track that sounds like a downer, but there are specks of light coming through until the end. The song feels in equal parts a story about young romance (“They whisper in the hallway, ‘she’s a bad bad girl’) and a commentary on politics (“American stories burning before me / I’m feeling helpless, the damsels are depressed / Boys will be boys, then where are the wise men?”). Even here, peppy shouts of “Go! Fight! Win!” punch through the fog of moody synth.

Lover is not a perfect album. It’s hard not to continuously roll your eyes during “London Boy”, and at 18 songs, the album feels just a few tracks too long. Ironically, you could make a pretty aggressive drinking game with the staggering amount of references to alcohol and being drunk that crop up in almost every song. Lover is almost magical in the warmth its synth pop presents. However, songs like “Soon You’ll Get Better”, featuring the Dixie Chicks, an acoustic ballad interwoven with banjo and violin, make it hard not to miss Swift’s past, even if her future is brighter than ever.

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 literally just spilled an ENTIRE cup of water across the ENTIRE kitchen floor in an attempt to keep the cat from doing just that. Please send him towels.

A Half-Assed Theory on Discovering New Music

Over the last several years, I have been been improving myself mentally. I heard new music but wasn’t listening. Now in a better place, I am revisiting some albums with fresh eyes to see what it means to me now. Cheers.

Finding new music is easy, but loving new music is a chore. When I think of the bands I love the most, it’s because I discovered them during a transition in my life. Going to high school (New Found Glory), first girlfriend (Saves the Day), college and first apartment (Panic! at the Disco, Lucky Boys Confusion), and discovering the real world (The Wonder Years), led to me listening to this music nonstop for decades, as well as other bands that cropped up in the same eras.

However, stagnation and depression hamper the joy in personal growth. In retrospect, it seems obvious that such memorable moments imprint themselves in the music we listen to. But seeing it in action in real time is a special moment everyone should experience. Thus, I have developed a theory!

I recently started a new day job, which is the biggest change to my life in years. It required spending two weeks in Wisconsin by myself for training. I tried to prep music for the trip, but felt bored looking over my usual soundtracks. Instead, I prepped a bunch of music I’ve reviewed for It’s All Dead in years past or bought for my collection and then (for no reason at all) never listened to again: Neck Deep, State Champs, We Are the In Crowd, Superet, Honeyblood, and many more.

There are many ways to connect to music, whether that be a connection with the lyrics or the music filling your veins with energy. Oftentimes, music means so much to us because of the nostalgia and memories we associate with it. My theory on falling in love with music is obvious, but is proposed as such: the most direct appreciation to new music is during a new life experience.

The first nerve-wracking day of my job, I played Neck Deep’s Life’s Not Out to Get You twice throughout the day, as it seemed appropriate for someone who waits for the worst to happen and then adjusts accordingly. Checking into my hotel, “Threat Level Midnight” played as I walked through the halls. As vocalist Ben Barlow sang, “I’ll see your face down here real soon / A welcome home to a swift farewell”, I opened my door and found another family staying in my room. Dirty clothes, pool toys, suitcases and children’s toys were spread across the room, so I panicked and quickly shut the door.

The hotel told me that there was a family refusing to leave and squatting in the room; they had torn the phone from the wall and refused to respond to maintenance knocking on the door as “Can’t Kick Up the Roots” rang through one ear bud (“Yeah this place is a shipwreck / But this shipwreck, it is mine”). Although a misunderstanding all around, it took an hour to get me a room and Neck Deep kept me company at the counter during frenzied calls and panicked looks from the staff in my direction after being told, “Everything is under control.” Ironically, Neck Deep was also playing when the keys to my room didn’t work the second week and the entire staff recognized me as I told them I was locked out (“All eyes on me, but that’s not reality /… claustrophobic in my own skin / From holding it all in” – “The Grand Delusion”; The Peace and the Panic).

There is a massive public pathway that traces the lake in Lake Geneva, Wisconsin. My first night there, I found myself alone in the dark, walking a treacherous path with only the moon lighting the lake to my side as I hurried back to the hotel with Superet jamming away in my head (“And when the lights go out / Will you be having fun alone? / I need revolution / It’s you, only you” – “Bone Bag”; How To Work a Room).

I discovered smoking in bars is still acceptable in Wisconsin, as I stepped into a pub and saw 20 locals starring at me with suspicion with We Are The In Crowd blasting away through my phone (“I guess it was wishful to think / I was different from the rest / Now I’m red in the face / I don’t think I’m impressed” – “Better Luck Next Time”; Best Intentions). I fell asleep to State Champs playing quietly, vividly aware that I didn’t have to worry as much about money for a while (“Wash away all the thoughts that come at you like monsters at night / I don’t wanna live this way / Strong enough to break these chains / Broken pieces can mend…This is our time, our time to go” – “Our Time To Go”; Living Proof).

This massive life event has spawned moment after moment that I will never forget, each accompanied by bands I should have been in love with years ago. I can blame depression for hampering my ability to connect to the music before now, but the truth is I should have been listening regardless. The fact that I felt a connection to so many bands the last couple of weeks means I should have enjoyed them before now. Using a life event to listen to them finally feels like a crutch, and I wish I had spent more time loving them on my own. However, I will never forget these bands or the memories I made listening to them during these two weeks that changed my life.

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 watched a framed picture fall off the wall of his hotel room for no particular reason while writing this. He blames earthquakes for it so that he doesn’t have to think about ghosts before bed. What a fool!