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.

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Review: State Champs – Living Proof

June 19, 2018 by Leave a Comment

The worst thing about Living Proof, the new album from State Champs, is that it was written in 2018 and not 2004. This is an album that is full-blown pop punk in every way, wearing the genre proudly on its sleeve. Every single song is a potential single, expertly crafted to play on repeat in your head, even when you’re not listening to them.

Had this been released last decade, this is an album that could compete for the fame of Sum 41 or early Fall Out Boy. However, in 2018, it struggles to find an identity of its own. Instead, the album feels like an amalgamation of the best parts of every pop punk band in the last two decades combined to create one super album primed to dominate your summer.

You can buy Living Proof on Apple Music.

I’m not terribly familiar with State Champs, but after my first playthrough of Living Proof, I immediately went back to listen to their earlier albums. I’m in love with the band, and won’t be making the mistake of sitting on them again. Living Proof is one those rare albums designed to be a hit. Every song is radio ready and hypnotically enchanting. The production is crystal clear and does its best to propel the energy of the music.

Guitarists Tyler Szalkowski and Tony Diaz are a perfect duo, wrapping melody and sharp power chords in smart ways. There is a massive amount of pop on this album, but the energy and mayhem behind it is gorgeous and rests somewhere between the punk aesthetic of New Found Glory (“Criminal”) and the pop of All Time Low (“Safe Haven”). Bassist Ryan Graham is thankfully turned up to be heard clearly in every song and adds a noticeable backbone that other bands could only hope for (“Cut Through the Static”). Drummer Evan Ambrosio may be the hidden MVP of the album, as his wall of percussion constantly stole my attention at odd times with thunderous beats (“Mine Is Gold”). Vocalist Derek DiSanio pushes himself to great lengths throughout the record. He finds a great balance between crisp notes and letting his voice struggle to hit the high notes, adding an urgency and envious power.

The best and worst feature of Living Proof is that it is so enamored in pop punk that it fails to carve it’s own path. In fact, comparing the album to All Time Low circa 2010 is almost impossible not to do. The record sounds like a b-side collection of singles ATL forgot to release. This problem could be remedied if the songs had more substance to them, but each line is forged from classic pop punk archetypes. Vague lines about relationships permeate throughout.

The nice thing is that the lyrics fit perfectly together and make you want to shout them as loud as you can. However, there is no weight behind them, such as “Safe Haven” as DiSanio sings, “Congratulations, I’m a wreck again / Messed around, feeling down, thought it was all pretend / I’m realizing I’ve got time to kill so / give me a remedy to lift me up / Until it all falls back just like you said”. There are vague ideas of hope, such as when he sings, “And I feel when you’re looking at me / that you’re far from happy / If only we could wait for the truth / When you know it’s not so dramatic / Let’s cut through the static and be the living, the living proof”.

Living Proof is an album that will absolutely enchant half of its listeners and possibly turn off others hoping for something more than pop punk basics. But that shouldn’t take anything away from what State Champs have accomplished­ – a masterful pop punk album that relishes in every aspect of the genre. This album will potentially dominate the summer season and could potentially revive mainstream interest in the genre if it received the attention it deserves. After this album, I simply can’t wait to see them live at the first possible opportunity.

3.5/5

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 splattered a girl with gym sweat as she fled from a spider hanging on its web today. Not his fault, but no one was happy about the encounter. Especially the spider. It was crushed by a train and mocked mercilessly by a crowd.

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Review: The Longshot – Love Is for Losers

May 8, 2018 by Leave a Comment

There are two incredibly distinct versions of Billie Joe Armstrong. One writes rock operas that flawlessly meld biting, poetic verses and savage critiques of government. The other just loves writing pop songs. The one constant between the two is that no matter who holds the pen, Armstrong is going to belt out some absolutely killer songs designed to stay in your head. Love Is for Losers by The Longshot, his newest side project, is a band that has fun with rock and isn’t crippled with expectation.

The first thing anyone who listens to The Longshot will wonder, is why this wasn’t released as a Green Day album. The obvious answer is that Green Day is a group that seems to be aiming for higher goals. Their experiment with the ¡Uno!, ¡Dos!, ¡Tré! trilogy showed that following up several critically acclaimed rock operas is difficult when the band just wants to release some pop songs without the depth of American Idiot or 21st Century Breakdown. Love Is for Losers is the answer.

These songs are fun. Incredibly catchy, and packing the energy of Armstrong’s signature power chords, The Longshot is power pop at its finest. These are party songs that feel instantly familiar to anyone who has been a fan of Armstrong for more than a minute. Traces of each of his ventures can be heard in the album. “Taxi Driver” beckons the ghost of Green Day circa Nimrod. “Turn Me Loose” channels Foxboro Hot Tubs, and I’m sure you can find traces of Pinhead Gunpowder and some Bille + Norah if you look for it.

Bandmates Jeff Matika (bass), David S. Field (drums) and Kevin Preston (guitar) deliever some killer performances, but it is almost impossible not to compare them to Tre Cool or Mike Dirnst. They are obviously influenced by the other members of Green Day, and give as sincere an homage as is possible. While their performance is worthy of the influences, they give Armstrong a chance to write pop songs free of the weight of his main band on his shoulders.

What does stand out is how Armstrong’s songwriting formula shifts just slightly for The Longshot. There is a slight influence of southern rock in the guitar (“Cult Hero”). Hand claps litter the verses (“The Last Time”, “Soul Surrender”) and guitar solos run rampant just because they can. The Longshot also remind me that I miss classic Green Day, before they took on their political edge. Most of these songs could have been pulled off of Nimrod, and it’s actually refreshing to hear something like that again.

Perhaps the only downside (or upside, if you prefer) is that there is nothing lyrical to bite into. These are party songs, designed to be easy to sing along to without thinking about it. For example, the title track, “Love is for Losers” has a chorus of, “Hey kid, love is for losers now, alright / Stupid kid, you’re a loser now, alright”. While it’s nice to be able to sing along to literally any of these songs midway through the first listen, it’s upsetting to know that it is just a tease of Armstrong as a writer.

Love Is for Losers isn’t a reinvention, because it doesn’t need to be. It’s an excuse to write classic power pop songs. The Longshot is essential listening for fans of Green Day. While it is disappointing that the wit and anger that fuels Armstrong’s best writing is nowhere to be seen, songs like these are rarely written anymore. Love Is for Losers may not be anyone’s favorite album, but it’s impossible not to enjoy.

3.5.5

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 wrote this while attempting to eat an apple. It fell off of the table after one bite and rolled under the couch, because why wouldn’t it do just that?

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Review: Jeff Rosenstock – POST-

January 4, 2018 by Leave a Comment

As a living embodiment of the DIY ethos, Rosenstock may be the closest thing to a true artist that there is. At this point in his career, it can be easy to summarize a Jeff Rosenstock album – it’s going to be loud, incredibly catchy, and dripping with a mature honesty that’s almost impossible to find elsewhere. Yet somehow, he manages to surprise and impress each time.

You can buy POST- on Bandcamp.

POST-, is the surprising first release of 2018 (I’m making it official!). It is also surprisingly inspirational, given Rosenstock’s track record. He is known for realistic stories that relish in not feeling like an adequate adult while the people around you make responsible decisions. Meanwhile, you are drinking a tallboy alone.

He is brutally honest and doesn’t glorify these aspects of life, nor does he shame or look down on them. POST-, however, turns some of these concepts on their head.

Partially inspired by some of the social commentary from previous album, WORRY., POST- hints at societal problems and uses these vague ideas to shout anthems to inspire and sympathize. “USA” hints at the gang mentality of tearing someone apart because society is bored. “As they held him down, the crowd got loud / And they cheered when they thought he had escaped”. Instead of casting judgement, he simply sings, “Oh what else could they say? / They said, “Well, you promised us the stars and now we’re tired and bored”.

Immediately afterwards, “Yr Throat” bounces with a plea to speak your mind as long as it’s honest. “What’s the point of having a voice when it gets stuck inside your throat?” The song delves into the stress and pressures of handling yourself properly, and adds the reminder, “If you’re a piece of shit, they don’t let you go”.

While the thesis may be slightly different, the uncomfortably honest lyrics reflect some inner demons. Doing his best Ben Folds impression during “TV Stars”, Rosenstock croons about coping with seeing a past love in someone else’s arms by comparing it to his ability to play piano. “I can’t play piano all that well / Like, I’m fine, I can get away with it / If I’m acting like I’m drunk on stage / And you’re shocked that I’m playing anything / I’ll get away with it”.

Rosenstock hits on the fear of loneliness in “Powerlessness” in a way that terrifies. His voice is frantic, trying to get his message out before he is alone again. “I haven’t spoken to another person in a month / Well, small talk, obviously, but nothing beyond barely catching up / I have lots of things to say, but they’re gonna sound dumb, dumb, dumb / I have lots of things to say, but I’m just an idiot”.

Sonically, Rosenstock absolutely slams it. The guitars crunch with the confidence of Weezer and the experimental melody of early Brand New. John Dedomenici’s bass lays a gorgeous backbone to the songs (“Melba”) and Kevin Higuchi’s drumming is a hypnotic wall of sound (“Powerlessness”). However, the songs always keep you guessing with surprising twists.

“USA” starts as a solid rock song, complete with cowbell, only to fall apart into an atmosphere of synth before it bridges a guitar solo and a chant so catchy, it’s impossible not to see theaters filled with fans screaming it to the rafters.

“TV Stars” begins as a melancholy ballad that evolves into a devastating piano-driven rock song. “Melba” is the poppiest and most melodic song on the album. It also takes the deepest stab at a scene that preaches incessantly about grabbing for your dreams, as Rosenstock sings, “So go on, listen to some stupid song / And pretend to sing along / And try remembering what I’d think was smart when I was young / Where my memory makes me strong, but the record shows me dumb and breaking everything”.

If nothing else, it is impossible to deny that Jeff Rosenstock is anything but authentic. He conveys an honestly that artists of any type would kill to be able to express half as well. It doesn’t preach or judge, but that doesn’t make it any less devastating. His cracking and sometimes off-key vocals add to the ferocity of throwing the ideas out there. However, set to some expertly crafted punk songs, these are some of the most unique tracks that have fun confronting the universal demons we all encounter.

Photo by Hiro Tanaka

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 viscerally delighted by a surprise Jeff Rosenstock album to start the year. Hooray.

 

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Warped Tour Announces its Final Cross-Country Run in 2018

November 15, 2017 by Leave a Comment

Vans Warped Tour, a summer staple for the scene, is preparing for its final cross-country trek in 2018. According to Warped Tour founder Kevin Lyman, “I have been a very lucky person to have traveled across the country and sometimes around the world as one of the founders and producers of the Vans Warped Tour, and today with many mixed feelings, I am here to announce that the last full cross-country run will take place in 2018.”

Warped Tour has served as a springboard for bands into the spotlight throughout the years and provided a common ground for alternative music and culture, although recent years have revealed deep issues related to sexual harassment and abuse amongst certain bands on the tour. We’ll share more details as they come, but in the meantime, you can view 2018 dates here and read the full statement from Lyman below.

“I have been a very lucky person to have traveled across the country and sometimes around the world as one of the founders and producers of the Vans Warped Tour. Today, with many mixed feelings, I am here to announce that next year will be the final, full cross-country run of the Vans Warped Tour. I sit here reflecting on the tour’s incredible history, what the final run means for our community, and look forward to what’s to come as we commemorate the tour’s historic 25th anniversary in 2019.

In 1995, I had already worked many years in the music business, including spending four summers on the Lollapalooza tour, and I thought, ‘for one summer I would like go out and put on my own show’ mixing music and action sports. With the support of so many people, I have now spent the last 23 summers bringing that show to a city near you. We have brought that show to over 11 million people around the world and watched that same world change while doing so.

I have been proud to work with so many artists who have grown to be some of the largest stars in the world. Countless bands have played in hot parking lots and through summer storms for you at some point.

Bands like Quicksand, Sublime, L7, No Use for A Name and No Doubt jumped on in the very first year.

Touring many summers with my friends and peers like – Pennywise, Social Distortion, NOFX, Bad Religion, The Descendents, Less Than Jake, Dropkick Murphy’s, The Bouncing Souls, Rancid, Flogging Molly, Anti-Flag and The Offspring are just some of my fondest memories. More include, having Blink-182 travel on my bus in 1997 when the world opened up to them and made them the superstars they are today.

The Vans Warped Tour was the platform to witness the rise of pop punk with Sum 41, Simple Plan, MXPX, New Found Glory and Good Charlotte.

The birth of Emo – with bands like Thrice, Thursday, The Used, Taking Back Sunday, The Starting Line, Motion City Soundtrack and Jimmy Eat World.

Fast-forward to the summer in 2005 when TRL and Warped Tour helped launch the careers of Fall Out Boy, My Chemical Romance and Avenged Sevenfold.

I witnessed Warped alumni like The Black Eyed Peas, Katy Perry, Big Bad Voodoo Daddy, No Doubt and even Kid Rock play the Super Bowl. I’ve even had the pleasure of seeing Green Day play the Rose Bowl.

More recently, I’ve watched bands start out on a small stage and work their way up to the main stages by meeting as many fans as possible and continuing to hone their craft while on the tour. Bands like Paramore, A Day To Remember, Sleeping With Sirens, Pierce The Veil, Echosmith, Motionless in White, Black Veil Brides, Every Time I Die, Neck Deep, Beartooth and so many more.

What has always made me proud was when I read that Warped was the most diverse show of the summer where you could find Eminem and Ice-T on the same stages as Sevendust, Pennywise, and 7 Seconds.

I am so grateful to have worked with more than 1,700 bands over the last 23 summers. I wish I could thank every band that has played the tour.

The Vans Warped Tour has become the community I had always hoped for. We have worked with over 90 non-profits each summer shining a light on new and growing groups giving our community the resources they need to connect with people who can help them, but also encourages our community to help each other. To Write Love on Her Arms, Music Saves Lives, Feed The Children Now, Keep a Breast, Hope For The Day, Canvas Foundation, Living The Dream and A Voice for the Innocent have built their organizations from the Warped Tour parking lots across the country. This even inspired me to start my own foundation Unite the United.

The work we do each summer on “give back days” has become part of our DNA. My brain is etched with the image of the church ladies after Katrina serving beans and rice to The Casualties with their upright mohawks, finding a common ground where no one was judging anyone. Then finding out the only working business in the county seemed to be the moonshine still and the locals showing up with a crate to share with the crew later that evening.

The long hot days that ended around a BBQ with food, drink and more music are some of the best times. Enjoying the days off, taking people jet boating, house boating, river rafting and sometimes even skydiving. I witnessed lifelong friendships being made, sparks of romance that led to ‘Warped weddings,’ and unfortunately now, more notices of passings where a proper good bye was not able to be said.

I want to thank my supportive family who has been through the highs and lows, Darryl Eaton at CAA, Steve Van Doren and Vans, Kate, Julie, Allison and Steph. My hard ass working crew who puts that show up and down each day, the sponsors which without them this tour would not happen, the bands and their crews, the promoters who took a risk on us at the beginning and continue to be supportive.

It will be bittersweet each morning when I see the sun rise and then watch it set knowing that this will be the last time I get to witness it from that exact spot.

Though the tour and the world have changed since ’95, the same feeling of having the ‘best summer ever’ will live on through the bands, the production teams, and the fans that come through at every stop.

The enduring spirit of the Vans Warped Tour remains as bright as ever, continuing to inspire creativity and ambition in new and exciting ways as we prepare for a 25th anniversary celebration in 2019.

I truly look forward to seeing as many of you as possible during this final cross country run, and getting to thank you for your support on this wild adventure. Until then, take care and be safe.” – Kevin Lyman (Founder of the Vans Warped Tour)

Posted by Kiel Hauck

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Reflecting On: Say Anything – In Defense of the Genre

October 19, 2017 by Leave a Comment

In many ways, In Defense of the Genre is the absolute time capsule of pop punk in 2007. The sounds spanning the double album run the gamut of what was popular at the time while still managing to be, arguably, the most “Say Anything” record that exists. Guest vocals appear on over half the songs in unique, significant parts. In Defense of the Genre isn’t for everyone, especially on first listen, but it is an opus that celebrates and challenges the genre in every way.

You can buy In Defense of the Genre on iTunes.

After the success of …Is a Real Boy, Max Bemis faced what seemed an impossible task: topping himself. What he produced is a masterpiece of collaboration, experimentation and craft. In Defense of the Genre brought the outward, judgmental venom of “Admit It!!!” and cast it in every direction. To counterbalance this, Bemis also provided uncomfortably reflective and humbling lyrics of himself. The colorful poetry describing drug addiction, psychosis and coming to terms with indiscriminate anger is equal parts enthralling and sickening.

In Defense of the Genre is a dark album that reflects the time of its release. The golden era of the early 2000’s had faded and the few bands that still seemed to have any traction were heavier and brooding. Nearly everyone took a stab at experimentation, and while some succeeded, this era saw a massive drop off of bands that had been big just a couple years prior.

Rather than remake another punk record, Say Anything delved to see how depraved pop punk could be. The entire album is a blur of genre. Techno, dance, ragtime piano, grunge and pop seamlessly traipse between tempo changes that would kill a song by a lesser writer. Somehow, each sound manages to survive a solid coat of production and make a cohesive sound. In Defense of the Genre is as much a masterful dark pop album as it is the sound of madness itself.

The stories about Max Bemis prior to this album are legendary. Wandering the streets before being diagnosed with bipolar disorder, mental hospitals, and drug abuse seemed to constantly filter in through the news sites for a while. In his writing, not only did Bemis not shy away from this, the entire album documents the process of finding himself in the midst of madness (“The Church Channel”) and crawling his way out (“Sorry, Dudes. My Bad.”)

While each song attempted something new, some of the true stand outs are the acoustic tracks. “An Insult to the Dead” is one of Say Anything’s most amazing songs. The wrangled guitar, the gentle tambourine and plinking piano, and Max’s voice, accompanied by the faint shout in the background during the chorus, create a haunted effect. More than anything, the heartbreak in Bemis’ voice as he sings, “Oh God, forgive me Moses, Jesus, Allah” is unparalleled.

One true highlight is the use of guest vocals. They’re expertly chosen and provide a snapshot of who was popular. What’s amazing is how many of them are still wildly relevant today. On top of that, their placement in songs reflects the guest’s own personality. Taking Back Sunday’s Adam Lazzara provides the evil voice of paranoia on “Surgically Removing the Tracking Device”. Paramore’s Hayley Williams is the defiant angel on his shoulder in “The Church Channel” that urges him to seek help (“You were forlorn in despair / With your drugs and your hardcore porn / Trust me, those days won’t be mourned”).

Dashboard Confessional’s Chris Carrabba provides a haunting melody in the background of “Retarded in Love”. Anthony Green is the voice of alcoholism (“Hangover Song”). Gerard Way appears in the title track, a song attempting to make sense of why musicians write. The song breaks into a momentary country western jamboree as Way sings, “I’ve got an empty wallet and a record cover”, reminding himself that the best art doesn’t guarantee reward.

Max Bemis never hid his adoration of Saves The Day. I remember hearing a rumor about how the band dropped off of a tour with Saves The Day, allegedly due to drug problems. “Sorry, Dudes. My Bad.” seems to address this directly. Max asks his bandmates for help, and swears that evil shouldn’t be in their tour van. Saves The Day’s Chris Conley appears after an interlude of people offering help. Hearing Bemis’ personal hero shout, “If you want it, then come and get it /We’re all with you now”, still gives me chills 10 years later.

In Defense of the Genre is a true artistic endeavor. It was a massive risk taken at the height of Say Anything’s popularity. It’s also the last ‘classic’ Say Anything record. After this, the band’s sound became poppier and Max’s struggles less dire. What should be a hot mess of a record manages to be a cohesive concept album that finds the sound of madness itself. It’s an album that truly deserves to be celebrated on its anniversary, even though it may not be to everyone’s liking.

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 currently fighting the pesky Baratheon hordes! …..Or battling his cat to the death over small flakes of chicken.

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The Self-Destruction of Saves The Day

September 12, 2017 by 5 Comments

saves_the_day

UPDATE: On October 26, 2018, Saves the Day released their ninth studio album, titled 9. It’s pretty good.

The Chicago Bears lost their first regular season game this weekend. To be honest, I don’t know anything about football, but it’s a well-known inside joke that, although the Bears haven’t performed very well the last few years, their fan base continues to follow them relentlessly. The same can be said of Saves The Day.

Though most people know the band’s first few albums, their experimentation over the last decade has been met with enthusiasm from fans willing to listen to anything “Chris Conley and friends” create. However, the events of the Chicago Bears Block Party showed that even the most loyal fans have limits, and sometimes a band can damage the goodwill given to them by being obnoxious.

I love Saves The Day. They were one of my first obsessions in music. I’ve seen them almost annually for the last decade. At the Chicago Bears Block Party, they were the headline event with Lucky Boys Confusion (one of my more well known loves) performing immediately before them. Lucky Boys put on a stellar performance, per usual.

Almost from the moment Saves The Day took the stage, Chris Conley seemed off. From the slow build up to the first song (“All-Star Me”), to the point where the band was actually getting booed on stage, Conley was an example of nearly everything musicians are mocked for. Even now, a few days later, I can’t tell if it was the worst show I’ve seen, or the most entertaining. I don’t even know if it was because he was too inebriated or if it was some type of Shia LaBeouf ‘performance art’ horseshit. But I am worried for the future of Saves The Day. And Chris Conley.

***

Let’s start at the band level. Though the rest of the band played well enough, it seems like they barely played more than 10 songs (including the clusterfuck that was a 10-minute-long session of “A Drag in D Flat”) in a set that was over an hour long. About 20 minutes in, to say that the band looked annoyed would be an understatement. The fact that they continued to play at all, is merit to their professionalism as musicians.

I don’t know what was wrong with Chris Conley in Chicago, or if it is a bigger problem that is plaguing the group. The band actually said at one point that they had “drank all the free beer,” but this appeared to be something more serious. Between the continuous shouts of, “We’re alive! We’re alive!” and the non-stop references to how “crazy the world is and we’re all alive together in the cosmos,” it became far too easy to speculate about Chris’ state of mind.

I would like to say that the low point of Conley’s night was the off-key vocals or stopping to tune his guitar three times, instructing an already pissed crowd to “talk amongst yourselves.” It could have been when he stopped playing music entirely for nearly 10 minutes (I might be exaggerating, but not by much) to talk about how great it is to be alive while the crowd started booing him. Or that during one of his monologues, the crowd actually started chanting “LBC! LBC!” for Lucky Boys Confusion.

But none of that compares to the disastrous performance of “A Drag in D Flat”, a beloved song off of Through Being Cool. Even now, I am not entirely sure that this was the song they were even playing, because I was so focused on how fucked everything was. The band turned a three-minute pop punk anthem into a 10-minute sadness nightmare.

Though Chris seemed like he was about to sing several times, he instead proceeded to turn the song into an extremely long guitar solo and jam session, followed by him looking skywards, seeming to be lost in the continuous verse of guitar riffs from Arun Bali. Then he passed out.

I assume he passed out. I don’t know how else to describe someone toppling over, knocking the mic stand towards the crowd, and laying on the stage for about 30 seconds. The rest of the band continued to play, looking down on him until he returned to the guitar solo while lying on his back. When he got up, he stumbled around the stage and leaned on bassist Rodrigo Palma and Arun for support. This happened for what seemed like minutes at a time. The crowd (at least in my section) alternated between laughing at him and looking around nervously. One woman wondered aloud if “someone should get a medic.”

Chris Conley has always been quirky, which is what gives his music so much charm. Listening to any number of podcasts or interviews he’s been a part of shows that. His music harnesses an innocence interlocked with anger. Conley hasn’t been as angry in his last few recordings, and it’s healthy for artists to change over time, especially if it is towards a happier mentality. But this isn’t healthy, and I’m fucking worried about him.

If this is where Conley is in his life, I don’t know if I want to continue following the band. Everyone has a bad night on stage. Everyone experiments a bit. But there is something darker beneath the surface when a crowd of faithful fans start cheering for another band. At one point, the crowd shouted at the stage, “play a song!” Conley responded with “We can just talk. We’re just people, and we can talk to you.”

***

Saves The Day never make the same album twice. Conley even announced that this was the last show they were playing before going into the studio to record. I hope he is just worn out and blowing off steam before recording. Because if not, I have no idea how this entire process won’t be an absolute mess.

There is absolutely nothing wrong with a musician wanting to banter with the crowd or give a message during their set. Usually, the music punctuates those statements into something meaningful. This was someone shouting the same nothing sentence over and over.

I don’t know where his mind was or how annoyed his bandmates were. I don’t know if it was an isolated incident or a more common problem. I hope it’s out of his system. I have a new fear that I never expected: that Chris Conley could ruin his own music if he’s approaching his own work like this.

As much as I have given to support this band over the years, I hesitate to say if I will see them live again if this is how they treat their shows. More than anything, I’m worried about Chris. That wasn’t healthy behavior for anyone. I hope he finds whatever he’s looking for and gets help if it’s needed.

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 saw Saves The Day as his first concert ever. He drove three hours to see them, multiple times.

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Brand New Announce New Album Releasing This Fall

August 15, 2017 by Leave a Comment

Well, it’s finally happening. Today, Brand New tweeted out a link to preorder their fifth full length album on vinyl, along with some new tour dates to support the new record. The rest of the details remain fairly fuzzy to this point, but the already-sold-out vinyl is set to ship in October.

Last year, Brand New released a new single titled “I Am a Nightmare”, but no further information regarding an upcoming album ever surfaced. For a few years, fans have speculated that the band’s next album might be their last. For now, though, we’ll excitedly anticipated what will certainly be one of the most talked about albums of the year. Check out the tour dates below:

While we await more news, you can take a listen to “I Am a Nightmare” below.

Posted by Kiel Hauck

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Review: New Found Glory – Makes Me Sick

May 10, 2017 by Leave a Comment

New Found Glory is the second band I ever fell in love with. The thing about their albums is that you walk into them without expectations of biting social commentary, crazy departures of sound or veering artistic licenses. Their records are going to be fun, with the melodies stuck in your head after a single listen and the lyrics memorized on the second.

You can buy Makes Me Sick on iTunes.

Makes Me Sick is perhaps the second album to attempt breaking free of the standard mold. Coming Home, 2006’s oozing pop album was the first to make a departure to varying results. Makes Me Sick is much, much more successful in the attempt. Perhaps more surprising is how it retains the pop elements of the earliest New Found Glory albums just as much. The result is a record that pushes the band’s sound and writing through new experiments, but sounds like a particularly well-aged set of B-Sides off of Sticks and Stones.

Marking a perfect blend of Sticks and Stones era punk rock with Coming Home‘s alternative takes on songwriting (and synth!), this is an album that relies on and defies the legacy of pop punk that has come before it.

The songs are lavish and pop with a flare that sounds almost classical these days. With some alternative rock sounds and a better use of synth than on Coming Home, Chad Gilbert’s guitar work feels timeless. Focusing less in the easycore hard punk riffs of Resurrection, fleshed out rhythm guitar and solos relish in pop. Bassist Ian Grushka is allowed to carry the melody more than he was on the guitar-heavy Resurrection, which sets him apart from the uplifting synth. Drummer Cyrus Bolooki, yet again, absolutely crushes the kit with poppier beats that sound timeless to the band’s career.

The one song that truly stands apart is “Two Voices”, a Caribbean-style jam that sounds absolutely nothing like New Found Glory save for the vocals, but it doesn’t feel out of place when paired with Makes Me Sick as a whole. It’s the biggest leap stylistically the band have ever made, despite being a simple pop song.

Vocalist Jordan Pundik sounds eternally youthful, throwing some of his most inspired work in the last decade. While the lyrics aren’t gnawing at aspects of society, they are instantly memorable. Subtle jabs are thrown at youth culture run amuck, such as “Party On Apocalypse”, where Pundik sings, “This self-centered generation, taking pictures of themselves then changing features / Pleasing over critical creatures / Everyone’s got a cause but how strong is the foundation / Moving like the waves of the ocean / Do you care or just throw stones in?”

While the classic topic of relationships isn’t snubbed (“Barbed Wire”), “The Cheapest Thrill” is one of the most noteworthy songs on the album. A song about overcoming lust so as not to hurt others anymore, and finding self-respect in yourself and others, it stands out with more depth than the average New Found Glory song. The realization is a great passage, and one of the more heartfelt lines the band have penned, as Pundik sings, “Suddenly, I can see through my own eyes again / But I don’t like what I’m feeling / You can’t help your thoughts, but you can change your actions / If I don’t I’ll be consumed.”

I’ve listened to New Found Glory continuously for almost the entirety of their 20-year career, and even minor changes to their formula can sound drastic when compared to their discography. Makes Me Sick treads the fine line of not only finding a new charm to their signature pop, but they make it sound like an homage to their early work as well. Few bands get the chance to see 20 years, much less release an album that pays tribute to a genre they helped forge without being sickened by the sound of them.

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 fondly remembers that New Found Glory was the first album he ever bought on his own. He forced his friends to listen to it relentlessly until there was a NFG-loving army at his beck and call. He failed to conquer and rule Quebec with them.

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

Saying Goodbye to Letlive.

May 8, 2017 by Leave a Comment

My first experience with letlive. was unintentional. On a hot July evening in Louisville, Kentucky, I was in attendance to cover my favorite band, Underoath, in support of their new album Ø (Disambiguation). It was mid-2011 and I was unaware of letlive.’s existence before their placement as the opener on the tour, though that night would prove to be the most enraptured I have ever been while watching an opening act.

Within moments of taking the stage, vocalist Jason Aalon Butler leaped into the docile crowd, screaming the repeated refrain of, “There are no martyrs in resolution / Remain still, don’t expect restitution / Stand up, stand up, stand up”. From there, the energy only escalated. Before the band’s set came to an end, Butler would be pulled from the stage by two venue security guards and dragged out of the building for his response to their abuse of a spectator. Feedback blared over the house speakers as the crowd looked around in bewilderment, unsure what it had just witnessed.

In so many ways, it was the perfect introduction to a band delivering an unwavering wake-up call, resolute in its cry against injustice.

Hanging with Jason after a 2012 concert in Indianapolis.

That night, I purchased Fake History, their breakthrough album, which had just been re-released by Epitaph Records. In the years that followed, I made it my ambition to share the news of letlive. at every possible opportunity, framing them as the west-coast spiritual successors to New York hardcore kings, Glassjaw.

For all of the criticism aimed in the direction of modern punk music, perhaps none is more valid than the idea that the genre has lost its teeth: misdirected passion with no resounding political or social message; no voice. It was, and still is, my belief that letlive. encapsulated the spirit of the punk community in a way that very few bands have dared in recent decades.

Fake History is a manic display of outrage directed toward systematic oppression and collective rejection of truth. Topics range from religious denial of evolution to the pitfalls of capitalism. On “Casino Columbus”, Butler takes aim at the pillaging of Native Americans and their culture, shrieking, “I want to be the bourgeoisie, but I don’t have blue blood in my veins / My eyes did see the vampirous pilgrim drop a few red drips from his fangs” before closing with, “Stick your finger down the throat of your freedoms / And let it all purge on out”.

The raw, post-hardcore violence of Fake History, coupled with grassroots, word-of-mouth marketing around the band’s live performances brought letlive. to scene attention, complete with magazine covers and features that showcased the delicate, thoughtful off-stage personality of Butler – a man determined to deliver his message at any cost. It was that organic rise to attention to made 2013’s The Blackest Beautiful all the more impactful.

I’m a firm believer that The Blackest Beautiful is one of the most important rock albums the genre has produced in recent memory. In addition to refining their sonic chaos, Butler delivers an inspired performance, targeting systematic racism, the broken healthcare system, and a misplaced worship of celebrity. It’s the punk album that letlive. had earned more than enough cache to deliver, and it is close to perfect.

That summer was a whirlwind, with letlive. leading a long-overdue conversation in an often-complacent scene. One of the personal highlights of my career came while covering the band on that summer’s Warped Tour, writing a feature on a band that had put the genre I love on notice in all the right ways. It felt like validation.

As I’ve learned so many times in my life, though, it’s easy to take good things for granted. I largely shrugged at last year’s If I’m the Devil…, an album that I felt lacked the bite of letlive.’s previous work, even if it did contain some interesting new tricks and important discussion. It never crossed my mind that we might have heard the last from a band that I presumed would lead the genre forward for years to come.

The news of letlive.’s demise is hard to swallow and even harder to believe. The mission statement and idea behind the very website you’re reading is based largely off of the spirit of letlive. – a commitment to praise authenticy, progress and positivity. In a scene that still shamefully struggles with misogyny, gender and racial imbalance, and general apathy, it’s hard not to feel a giant hole. Nevertheless, I know this community benefited greatly from letlive. and I firmly believe that others will carry their torch.

I feel fortunate to have been at that show in Louisville in 2011 and even more fortunate to have watched the band play countless times after, seeing something new with each performance. I’m grateful to the band for their music, their message and their humbleness. Finally, I feel confident than their spirit of empowerment and justice will carry on. After all, according to Butler at every show I attended, letlive. was composed of more than just the members on stage – it was all of us.

“We got an army for us versus them, but look, it’s not us versus them / It’s just us, my friend”

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

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