Reflecting On: Saosin – In Search of Solid Ground

September 10, 2019 by Leave a Comment

By the time Saosin’s second full-length album, In Search of Solid Ground, arrived in September 2009, I felt like I’d been waiting forever. In hindsight, three years doesn’t seem all that long. It would be another seven years before the band would reconvene for 2016’s Along the Shadow. New Saosin music never comes on time, but it’s usually worth the wait.

You can buy or stream In Search of Solid Ground on Apple Music.

By the time the band finally released their full-length self-titled debut in 2006, I was all-in on the band and practically obsessed with everything they did. I owned multiple t-shirts and hoodies, was in attendance at every Saosin show that came near me, constantly talked about the band with my friends, and was a frequent visitor to the band’s online message board. I followed every detail and clue I could find as the band worked on their follow-up to Saosin and waited anxiously outside a Best Buy on release day to be first in line to purchase the album.

In truth, there was no way In Search of Solid Ground could ever live up to my expectations, which had reached a crescendo by the time I picked up The Grey EP the previous fall during the band’s fall tour with Underoath. Saosin was more than an album to me – it was a life experience. It was the kind of record that shapes your musical tastes for the better part of a decade. It was the kind of record you measure every other record against.

But even if a voice inside my head told me that In Search of Solid Ground wasn’t all I had hoped for, I brushed those notions aside and repeatedly dove into the album day after day. First, it was the revamped demos of “I Keep My Secrets Safe”, “The Worst of Me” and “Why Can’t You See?” that grabbed my attention. Then it was upbeat tracks like “Deep Down”, “Changing”, and “Is This Real?” that took center stage. Finally, it was the odd, experimental tracks like “Say Goodbye” and “Fireflies (Light Messengers)” that stole my heart.

Over the past 10 years, In Search of Solid Ground has become a unique kind of record in my collection. One that I revisit once or twice a year and think back to a time when a band could make me feel the way Saosin did, and really no other band has since. Of all of the band’s releases, it’s the one I reach for the least, but it was undoubtedly the one I was most in-the-moment with at the time it released.

To look back, it’s easy to see why the album didn’t land for many fans. Its logjam of producers certainly led to a lack of direction. There’s a little something for everyone on the album, but not necessarily for longtime fans of the band’s chaotic early sound. In Search of Solid Ground contains actual pop songs (“It’s All Over Now”, “What Were We Made For?”) while still containing heavier moments that don’t quite fit in with the rest of the band’s catalogue. If you had to label the album, you’d probably call it alternative rock, but even that ambiguous term fails to capture the full breadth of sounds displayed here. Over time, I’ve found it best to digest the album in various chunks that fit together.

It’s true that I wish the album had contained more of the wild guitar work from Beau Burchell and Justin Shekoski, blistering drums from Alex Rodriguez, and soaring vocals from Cove Reber that had defined their earlier work. But the thing is, the earlier work is kind of perfect – what was left to prove? If In Search of Solid Ground was either an experimental journey for the band or a last gasp before a 2010 fallout left the band nearly defunct, it’s undoubtedly a moment in time that feels different from anything else coming out of the scene at the time.

Ten years later, I’m mostly happy that the album wasn’t the band’s last. It always felt like Saosin was on the verge of either world domination or complete self-destruction, and walking that fine line resulted in some of the best and most unique sounds of the 2000s. After all this time, the band still insists on doing things their own way, which is what makes them so compelling.

And come to think of it, it’s been three years since Along the Shadow. While my youthful superfandom may be long gone, I still await anxiously what, if anything, comes next.

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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Review: Anthony Green – Would You Still Be In Love

June 4, 2018 by Leave a Comment

My first thought upon first listen to Anthony Green’s surprise solo album, Would You Still Be In Love, was, “How the hell can he be this prolific?!” In the last decade, Green has been the frontman for both Circa Survive and Saosin while releasing five solo records. Somehow, Would You Still Be In Love is as beautiful as it is terrifying. For each image beautifully painted of absolute love, there is a tear in the canvas showing the struggle with mental illness on the other side.

You can buy Would You Still Be In Love on Apple Music.

Green’s solo albums have always experimented with genre, but they have usually been at their best at the acoustic level. Aside from sparsely used percussion and a haunting violin, the majority of Would You Still Be In Love consists of gorgeously melodic acoustic tracks that make the lyrics much darker than they otherwise may have been. While Green pours over his struggles and things begin crashing down, you can hear the beauty of the world around him that he’s trying to reach.

As usual, Green’s lyrics are stunning. The album is a surprisingly dark one that uses stark imagery to show the struggles of mental illness in a relationship. Opener “Vera Lynn” is arguably the poppiest song Green has ever written. It also is a song about the fear of becoming musically irrelevant. It’s both a warning to himself and an understanding of his profession as he sings, “Someday if you hit the big one, everybody wants some from you / It won’t last / Cause then one day you’ll bite the big one / Everyone will move onto somebody new”.

“Love”, a cover from the song made famous in Disney’s Robin Hood animated movie, is a sweet homage to his family. It also sets the tone for how wonderful things can be before collapsing. “You’re So Dead Meat” is where the first doubts begin to pour in about his music. There are lines that show the struggle with art in ways I have never heard before, such as, “These strings are so dead / Holding off on changing them / until one day they will just break”, or “Why should I put everything into all these songs you just steal?”

“When I Come Home” is the showstopper of the record. It highlights the struggle of dealing with personal issues and watching against your own will as things appear to fall to pieces. The song weighs the pressure between true and failed love as Green sings, “Don’t blame me if I’m right / You were always on your way out / You can take your time, I’ll be patient / Don’t hate me if I say, ‘If there’s something I can change’ / You’d still be in love when I come home”.

Closer “Real Magic” manages to find solace with his struggles and ties off his fears. Coming to terms with his fears as a musician from earlier in the album, “Real Magic” justifies the struggles of writing such personal songs as he sings, “Everyday there’s something tragic that helps somebody else”.

Would You Still Be In Love sits amongst Anthony Green’s best solo albums. As tragic as it is redeeming, the record feels complete at nine songs long. Extremely personal, thematic and honest, Green shows yet again that he’s never left the top of his game.

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 listened to this album at 6 am on a Saturday morning because sleeping in is for quitters.

 

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Review: Blessthefall – Hard Feelings

March 27, 2018 by Leave a Comment

There’s something to be said for sticking to your guns. The metalcore scene, once overpopulated with lookalikes, has begun to thin as today’s scene bands explore new (and old) heavy music territory. As the era of brutal breakdowns and guttural screams begins to fade, here stands Blessthefall – purveyors of a once exploding genre and perhaps our lasting example of its excellence.

You can buy Hard Feelings on Apple Music.

In the years to come, Blessthefall’s narrative will be told as one of consistency. In 2009, Witness shrugged away the naysayers after their original vocalist fled and crafted an early playbook for the coming decade’s melodic metalcore. After 2011’s Awakening failed to expand on that effort, 2013 brought Hollow Bodies, arguably one of the genre’s finest releases. With 2015’s To Those Left Behind, the band once again tweaked their formula, remaining one of the scene’s revered acts.

All that to say, Blessthefall has had a strong run. With over a decade in the books, it’s fair to feel fatigued with the idea of another similar sonic serving, especially in light of the band’s recent signing with Rise Records, a label intertwined with the genre’s success. But Hard Feelings seems to usurp that notion – it’s an album that sounds every bit like the Blessthefall you’ve always known, but is chock full of both nostalgia and new tricks that keep you on your toes.

Album opener “Wishful Sinking” quickly unveils new electronic programming and synthesizers that match the band’s glossy new neon visual aesthetics. Just as the expected breakdown hits at the 3:30 mark, the track’s tight production jumps the shark with sharp, glitchy cuts that make you reach for the rewind button. When’s the last time a breakdown made your ears perk up? As the moments we once lived for grow tired, Blessthefall has uncovered something new.

On “Feeling Low”, the band borrows Saosin’s signature guitar squeal to breathe new life into their riffs. It’s a track that harkens a past era of post-hardcore while still managing to feel fresh thanks to a delightfully sing-able chorus, tight production, and a new take on Blessthefall’s aggressive technical prowess.

These juxtaposing concepts particularly pervade the album’s back half, with tracks like “I’m Over Being Under(rated)” and “Sleepless in Phoenix” serving as pulsing, upbeat tracks that never defer to an unnecessary heavy crunch. Yes, there are still breakdowns, but the bulk of the band’s music forces you to key in on new features and ideas that have shifted the balance. Frankly, the band’s melodic moments are more frequent and far more compelling.

For all of the subtle tonal shifts across Hard Feelings, nothing stands quite as stark as vocalist Beau Bokan, who has officially delivered his best performance. No longer structured as the soaring medicine to bassist Jared Warth’s scalding screams, Bokan is free to test new waters. Take “Sakura Blues”, where Bokan delivers a quiet opening verse at a lower register while gracefully inserting his falsetto. It’s a simple exercise in theory, but it makes his driving chorus all the more compelling and offers another welcome progression to the band’s sound.

Tucked neatly inside of all of this, and easily missed, is the band’s strongest trait of all. Hard Feelings explores a variety of moods and emotions, aggressively tackling messy life circumstances and relationships, but its default mode is one of hope. From the cry out for relief on “Keep Me Close” to the familiar pang for family and love on “Welcome Home”, the band leaves the door open for resolution. Bokan’s daughter Rocket adorably joins her dad for the album’s final refrain of, “It’s not living if I’m not living with you”.

With that kind of closing, it’s almost possible to imagine Blessthefall riding into the sunset with Hard Feelings as their swan song. If that were to be the case, the band could hang their hat on over a decade of output that guided the course for a scene during its heyday, standing as one of its most respected acts. But let’s drop the conjecture – on its own, Hard Feelings is a worthy addition to the Blessthefall catalogue, a shift in sound that feels fresh and authentic, and further proof of the band’s commitment to its craft.

4/5

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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Circa Survive to Release “The Amulet” on September 22

July 11, 2017 by Leave a Comment

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

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

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

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

Posted by Kiel Hauck

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Top 10 Albums of 2016

December 8, 2016 by 1 Comment

best-albums-of-2016

Check out our Top 10 Songs of 2016 here.

In 2016, the concept of an album became more ambiguous than ever. For some, it meant a collection of songs not for sale, but presented as a streaming mixtape. For others, it was a full multimedia experience across multiple platforms. In some cases, it was an unfinished product, subject to revisions as time passes.

Still, the concept of absorbing a musical experience, and the wonder that experience brings, remains constant. There’s little argument surrounding the many downfalls and frustrations that 2016 brought our way, but even in the midst of disturbance, we found solace in the music below. These albums not only spoke to our hearts and made sense of the world around us, in some cases, they provided a much needed escape.

Without further ado, the top 10 albums of 2016:

10-revolution-radioGreen Day – Revolution Radio

Revolution Radio restored the legacy of Green Day. Cohesive, poetically political and loud, Revolution Radio is the ultimate summation of the band’s last decade. Leading the charge with one of their biggest and best singles in years (“Bang Bang”), Revolution Radio forgoes the rock opera format, but maintains the political defiance that only Billie Joe Armstrong can pen. A masterful mix of aggressive punk and some of the poppiest songs the band has written (“Youngblood”, “Still Breathing”), Revolution Radio masks the undertones of classic rock that made 21st Century Breakdown so distinctive and makes each track feel like a callback to their entire career. – Kyle Schultz

9-lemonadeBeyoncé – Lemonade

In the spirit of making Lemonade from lemons, Beyoncé used 2016 as an opportunity to speak on life’s ills. Lemonade is at once deeply personal and relatable – an album that speaks to a very specific situation while being unafraid to reach beyond, becoming something political and powerful in the process. From the deep burn of “Pray You Catch Me” and “Don’t Hurt Yourself” to the mighty declarations within “Freedom” and “Formation”, Beyoncé delivers catharsis in a variety of vehicles. Lemonade is not only her most diverse collection of songs – it’s also her boldest artistic statement, embracing her identity in the face of affliction. – Kiel Hauck

8-home-inside-my-headReal Friends – The Home Inside My Head

Though Real Friends have been a very well collected and open band for years, The Home Inside My Head is their first great record. Establishing the band as one of the defining pop punk acts of the day, vocalist Dan Lambton’s open lyricism not only makes emo cool again, it takes a brutal look at the struggle with depression and loneliness in ways most of their peers will never touch. Though The Home Inside My Head features songs about girls, the thematic setting of coping with and understanding mental battles paints them in a light that finds Lambton trying to discover if his relationships are, in fact, crumbling apart, or if he’s disillusioned enough to not recognize that everything might be okay outside of his own perception. This is the record that marked Real Friends as one of the great bands of the pop punk revival. – KS

7-along-the-shadowSaosin – Along the Shadow

It only took 13 years for Anthony Green to reunite with his original brethren in Saosin, but boy, oh boy, was it worth the wait. The post-hardcore giants had plenty of time to craft what very well may be their final effort, but Along the Shadow puts to shame every band that attempted to follow in their footsteps. From Alex Rodriguez’s fury behind the drum kit to Beau Burchell’s squealing guitar riffs, the album truly feels like the perfect homecoming for Green’s signature croon. The band tries their hand at a few new tricks, but by and large, this record is about perfecting an already impeccable craft. “Our days it pays to keep from burning out / You used to care so much”, Green wails on “Control and the Urge to Pray”. If it’s a subtle nod at our collective need for nostalgia and comfort, so be it. Along the Shadow is a damn fine record, even without the history. – KH

6-materialBlaqk Audio – Material

Material is the Blaqk Audio album I’ve waited nine years for: Though Bright Black Heaven was a good album, it sounded dated by the time of its release. Material makes its mark as the most cohesive Blaqk Audio release, and Jade’s most diverse sounding in terms of writing. Thematically, one of Davy Havok’s darkest, Material manages to find the band’s poppiest moments (“First to Love”) and their most exploratory (“Annointed”). Where many electronic groups run the risk of sounding too similar to themselves, much less their peers, Blaqk Audio have forged their own stake in the genre deeper than most anyone else. – KS

5-i-like-it-when-you-sleepThe 1975 – I Like it When You Sleep, for You Are So Beautiful yet So Unaware of It

Spurned by boy band comparisons, Manchester’s The 1975 went all in on their pop-drenched sophomore effort, I Like it When You Sleep, for You Are So Beautiful yet So Unaware of It. What was once black and white is now awash in pink, fluorescent light. What was once aloof is now center stage and pleading for attention. Matthew Healy has become one of the most brilliant frontmen in rock, with his flair for the dramatic eclipsed only by his deep sincerity. Just as quickly as tracks like “Love Me” cause you to smirk, “If I Believe You” and “Nana” trigger a gasp. I Like it When You Sleep is deeply troubled and full of existential dread, but damn if it’s not an absolute blast to listen to. – KH

4-painkillersBrian Fallon – Painkillers

One of the biggest surprises of the year, Painkillers managed to completely revive Brian Fallon in ways most artists never see. Though Gaslight Anthem are easily one of the best bands of the last decade, it’s hard to argue that they didn’t sound tired on their last album. Fallon’s solo debut manages to capture the essence of a classic record while pushing a unique sound blending Americana and pop. Most importantly (and especially if you see him live), you can feel how much Fallon enjoyed himself writing the record. It’s one of the most impressive solo debuts of any artist, and one of the few albums where nearly every song should be a single. – KS

3-coloring-bookChance the Rapper – Coloring Book

“If one more label try to stop me / It’s gon’ be some dreadhead n****s in the lobby”. Chance the Rapper needs not what labels have to offer, paving his own way in his own way in 2016. What began with the most breathtaking verse of the year on Kanye’s “Ultralight Beam” quickly turned into a coming out party for the ages with the release of Coloring Book. From indie darling to hip hop royalty, Chance battled against a year of frustration by celebrating the joy of being alive. “Man, I swear my life is perfect, I could merch it / If I die, I’ll prolly cry at my own service” he gleefully proclaims on “All We Got”. Chance’s positivity (and smile) is contagious – one spin of Coloring Book and you’re hooked. – KH

2-californiaBlink-182 – California

California is everything I’ve wanted from Blink-182 for over a decade. It embraces the fun aesthetic of pop punk, experiments with itself and tackles the more uncomfortable moments of the band’s last few years (“San Diego”).  Most importantly, it sounds like the band themselves love it. The classic throwbacks (“She’s Out of Her Mind”) stand as tall as the more experimental moments (“Los Angeles”) without sounding as displaced or divisive as some of the past few albums. Matt Skiba makes an almost perfect debut sharing vocal duties with Mark Hoppus. Most importantly, for a band rediscovering themselves after such a tumultuous decade and learning to move forward with a new member for the first time, California marks a defiant line in the sand that gives faith to a loyal fanbase who has waited for something like this. In what might be one of the great comeback stories in music, Blink-182’s future, for once, is inexplicably exciting. – KS

1-blondeFrank Ocean – Blonde

In a year in which album releases were anything but traditional, Frank Ocean struck like a thief in the night. First, it was the streaming audio/visual experience of Endless, followed shortly by pop up shops selling Boys Don’t Cry magazines with hidden CDs inside. By the time Blonde finally hit the masses in late August, it was hard to know what to expect of an album four years in the making.

At its core, Blonde is a meandering blend of sexuality and existential philosophy that moves at its own pace. Frank’s intoxicating voice couples perfectly with his own sense of melancholy, inviting us into his most personal meditations without fear. Blonde is brave, to be sure, but it’s also the collective therapy session we needed in the wake of 2016. Who knows when Frank Ocean will return – for now, we’ve got plenty to chew on. – KH

Honorable Mention

A Tribe Called Quest – We Got it From Here… Thank You 4 Your Service
Architects – All Our Gods Have Abandoned Us
Yellowcard – Yellowcard
Emarosa – 131
Kendrick Lamar – Untitled Unmastered

Posted 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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Reflecting On: Saosin – Saosin

September 21, 2016 by Leave a Comment

saosin

I believe Saosin’s self-titled full-length debut album to be an example of post-hardcore excellence and a record that shaped the direction of the genre for the next decade. Others disagree, citing the album as an example of Saosin’s squandered potential.

Instead of using the next 800 words to defend my position and re-hash one of the most tired debates in scene history, I’m simply going to tell you how this album has had a deeply profound impact on my life.

You can buy Saosin on iTunes.

You can buy Saosin on iTunes.

I’d be lying if I told you that I was invested in Saosin since the drop of Translating the Name and a member of the band’s old guard. My introduction into the screamo scene happened a year later with the release of Underoath’s They’re Only Chasing Safety. That being said, I became keenly aware of the Saosin hype train shortly thereafter, and like most of the genre’s fan base, eagerly awaited the band’s highly billed debut.

Saosin released during a period of transition in my life, and has seen me through several more transitions since. Just out of college and making my first attempt at being a real adult, the album provided the soundtrack to late shifts at work and long car rides on weekends. During the days when we all still listened to CDs, Saosin firmly planted itself in my car’s stereo and was rarely withdrawn. I can safely say that I’ve listened to the album from front to back more than any other album I’ve ever owned.

Every instrument is played while straddling the line between rock radio perfection and reckless hardcore abandon. Cove Reber’s vocals seem to effortlessly reach ungodly notes on nearly every song without leaning on the then-mandatory crutch of screaming, setting a new precedent for scene vocalists. The production, handled by hit-maker Howard Benson, results in a nearly flawless product.

There’s something about the music that still speaks to my soul. Reber’s lyrics mean the world to me, and I’ll address those in a moment, but I’ve often said that even without vocals, Saosin would still be one of my favorite albums of all time.

The open air and smattered drumming that lead into the signature Saosin guitar squeal during the opening moments of the record on “It’s Far Better to Learn” still sends chills up my spine. Each track on the album bleeds either delicately or chaotically into the next track, creating one of the most fluid listening experiences you’ll have with an album. When the opening riffs of “Sleepers” begin spilling out near the end of the opening track, you realize there’s no need to reach for the skip button.

Saosin is littered with moments that both take my proverbial breath away and breathe fresh air into my lungs. The bridge of “Follow and Feel” remains one of the most pulse-pounding moments in the post-hardcore scene, highlighted by a rapid-fire drumming from Alex Rodriguez that pushes the track onward. The closing moments of “Collapse” find every member of the band going apeshit on their instruments as Reber wails “Open your eyes and let all the light in”. It’s a moment of pure ecstasy.

Reber’s lyrics remain cryptic and ambiguous throughout, but they have never lacked in meaning for me. During a candid moment during the end of the band’s making-of-the-record DVD, Reber begins sharing the inspiration of positivity that impacted his writing, concluding with, “For me, personally, I want to write something that can uplift somebody.” I’m forever thankful for this approach.

It’s rare for a Reber lyric to come across bluntly on Saosin, but it’s the in-between moments that continue to capture my attention. During the pre-chorus of “It’s So Simple”, he sings, “When we fall to the ground, slowly we’re safe and sound”. During the swirling chorus of “Collapse”, he belts, “We are the only ones, we will get up / And we are aware ‘cause we’ve been through it”. As the delicate opening of “Come Close” breaks through, Cove sings, “Remind yourself that they are the ones who will hold you still”.

It’s this persistent theme of intimacy and unity that courses through the album’s veins, serving as its lifeblood, that draws the listener in. By the time should-have-been-crossover-hit “You’re Not Alone” reaches its crescendo, the point is clear: “You’re not alone / There is more to this I know / You can make it out / You will live to tell”. The album’s potentially cheesiest moment is also its calling card.

I’ve written in the past about my struggles with depression and how music has walked by side throughout the difficult journey. Saosin is the album I go to when I feel desperately alone. It’s the record I play during those painful moments of transition. These are the songs that revive me when I’m at my lowest. I keep waiting for the day when it stops working, and while it’s certainly not a cure, albums like Saosin keep me afloat on the days I need it the most.

I believe this album to be one of the great rock records of our generation, and the beauty in the craft of this record is part of what makes it so important to me. But even if you disagree with my thoughts on the album’s merits, we all have those albums we go to when we need a lift. Saosin may not have lived up to everyone’s hype, but I’m eternally grateful that every note landed where it did.

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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Podcast: The Best Music of 2006

June 20, 2016 by Leave a Comment

IAD_Podcast_Image

It’s that special time of year again! Kiel Hauck and Kyle Schultz chat about their favorite albums that turn 10 years old in 2016. Included in the discussion are classic releases from Underoath, My Chemical Romance, Saosin, The Early November, Taking Back Sunday, Saves the Day and many more. Listen in!

Subscribe to our podcast here. What are your favorite albums from 2006? Share your thoughts in the replies!

Posted by Kiel Hauck

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Taste of Chaos 2016: A Reason to Look Forward

June 8, 2016 by Leave a Comment

dashboard-confessional-toc-splash

If you’ve followed any of the chatter surrounding this year’s resurrected Taste of Chaos tour, you’ve undoubtedly had your fill of wistful musings of days past. Certainly, it’s easy to get sentimental when glancing at the lineup – a who’s who of scene goliaths that paved the way for the approaching hurricane of nu-emo culture at the turn of the millennium. But to boil this summer trek down to nothing more than a mere nostalgia trip would be to miss the point entirely.

Chris Carrabba has dusted off Dashboard Confessional in recent months, releasing a new song this spring with plans for further recording. Taking Back Sunday is fresh off the heels of 2014’s refreshing Happiness Is and has a new album in the works. Saosin has reunited with original lead vocalist Anthony Green and released a new album, Along the Shadow, to critical acclaim last month. The Early November dropped one of 2015’s best rock records in Imbue just last spring.

All this to say that while it’s fun to reflect on the past, every band on this year’s Taste of Chaos tour is in full swing and primed for another step forward. Even if there’s nothing left to prove, there’s still plenty left to say.

For Early November vocalist Ace Enders, a man who has written and released a mountain of songs through his various creative channels, it’s almost hard to believe that he’s still getting better. Imbue is arguably the band’s best work to date, and on night three of Taste of Chaos in Indianapolis, Enders sounds just as impassioned singing “Narrow Mouth” as he does “Baby Blue”. Playing from a catalogue that stretches across 12 years, The Early November sound tighter than ever.

Saosin

Saosin

Speaking of spans of time, it’s still hard to believe your eyes when Anthony Green takes the stage with Saosin, a band he departed in 2004. Still, after the release of the ambitious Along the Shadow, it’s clear that this reunion means business. With a collection of 13 new songs to draw from, Saosin is able to stretch beyond Translating the Name with their setlist, offering fans the chance to hear the band shred across their new tracks.

While it’s still just as fun to hear “Seven Years” as it was all those years ago, it’s more interesting to hear the band tackle their new creations. In this setting, “Racing Toward a Red Light” sounds like the heaviest song Saosin has ever written. Likewise, “Illusion & Control” allows guitarist Beau Burchell and drummer Alex Rodriguez to let loose on stage during the song’s climactic close. With an expanding setlist, the only downside is not being rewarded with “Voices” or another track from the band’s equally celebrated Cove Reber era.

Taking Back Sunday

Taking Back Sunday

By the time Taking Back Sunday takes the stage, the lawn at White River State Park has filled out and the sun is beginning to set along the horizon. Rays of light cut through the stage backdrop, highlighting a confident Adam Lazzara as he struts across the stage. It’s a testament to Lazzara’s continued commitment to his craft that the mystifying mic swings are now merely a compliment to his overall performance. On this night, he rips through the set, sounding as solid as ever.

It’s a mix of the old and the new as the band opens with “Cute Without the ‘e’” before shifting to “Liar” and “Flicker, Fade”. With six albums under their belt and a laundry list of hits, it gets harder to know which tracks are the real mainstays. During their set, Taking Back Sunday try out a few new tricks fresh from the studio. “Holy Water” sounds like a suitable evolution from Happiness Is, while Tidal Wave sounds like a Ramones cover.

As intriguing as it is to get a glimpse of the future, it’s still hard to deny the indulgence of “A Decade Under the Influence” and “MakeDamnSure”. With any luck, band’s forthcoming record will only add to the growing list of Taking Back Sunday signature tracks, just as “Better Homes and Gardens” joined the list two years ago.

Dashboard Confessional

Dashboard Confessional

After three provisions of various kinds of chaos, it’s almost appropriate for Dashboard Confessional to bring things to a close. Carrabba has long been one of the most joyful performers in the scene, providing an ironic catharsis in the midst of so many painful songs. Yet to hear the crowd sing along heartily to “Stolen” and “Don’t Wait”, it’s clear that his songs of delight resound just as loudly with fans.

Carrabba has shape-shifted through the years from broken-hearted loner to confident rock icon to pensive folk artist without ever seeming unsure in his step. He’s a crafty songwriter with a knack for connecting with his aging audience, effortlessly meeting them where they are. On stage, he’s just as much a conductor as he is a performer, leading the choir through a history of heartbreak and redemption.

It’s only here that the nostalgia seems prevalent, perhaps because of the subject matter, but also because Carrabba seems to understand his role in 2016. He no doubt wants to revisit Dashboard with the intent of creating new material, but he also seems satisfied to rekindle an old flame with his fans. As is his custom, he regularly steps away from the mic for long periods, letting the crowd carry the band through songs like “The Best Deceptions”, “Saints and Sailors” and even the chorus of Coldplay’s “Fix You”. We’re all Dashboard Confessional, according to Chris.

While it’s not wrong to remember the past, it’s unnecessary to dwell there. On this year’s Taste of Chaos, we reflect on the moments that made us fall in love with music, but we also celebrate the fact that the same voices that sang our soundtracks are still singing new songs. And so are we.

The Early November
Saosin
Taking Back Sunday
The Early November
Dashboard Confessional
Taking Back Sunday
The Early November
Saosin
Taking Back Sunday
Dashboard Confessional
Taking Back Sunday
Dashboard Confessional

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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Review: Saosin – Along the Shadow

May 19, 2016 by Leave a Comment

saosin-shadow-new

Saosin fans know a thing or two about expectations. In fact, the post-hardcore icons have existed amidst a whirlwind of expectations since their 2003 breakthrough EP Translating the Name. Whether the band has met any of them depends solely on whom you’re asking. Suffice it to say, Saosin has been a lightning rod for heated debate, but there’s no debating the band’s talent.

Even after losing vocal phenom Anthony Green shortly after their debut, the band marched on to mainstream success three years later with Cove Reber at the helm. The band’s long-awaited self-titled album remains a post-hardcore classic and one that jumpstarted an entire subgenre, even if diehard Green fans balked at the sonic shift. Whatever side of the fence you stand on, there has never been any denying of Saosin’s influence and the technical prowess of their individual members.

You can buy Along the Shadow on iTunes.

You can buy Along the Shadow on iTunes.

Where the true problem lies for most fans is in terms of output. After the lukewarmly received (and, once again, long-awaited) In Search of Solid Ground, the band parted ways with Reber, promising that a return to form was just around the corner. You know the story by now – it wasn’t.

Yet here we are, seven years and countless hollow promises later, with the unthinkable on our hands – a new Saosin album with Anthony Green. How could this album possibly live up to the ungodly expectations laid upon it? How could fans ever be satisfied after such a wait? It’s really all a matter of perspective.

Along the Shadow, the band’s self-produced third full-length album, is not an album for the fans. It’s an album made by a band that still has plenty left to say and more ground to explore. It may be arriving late, but it’s certainly not arriving devoid of significance. Along the Shadow isn’t simply a reunion album or a fun trip for nostalgia’s sake. It’s the next chapter in Saosin’s growing legacy.

By now, you’ve heard “Silver String”, the album opener and first released song, 100 times over. What begins as a peculiar Circa Survive-sounding track slowly grows closer to the Saosin you love with every listen. The band’s signature riffs, courtesy of Beau Burchell, come in small doses here, but Green’s beautifully complex melody grows more appealing with each pass. Throughout Shadow, the band playfully experiments with new tempos and structures, building outward to new territory.

On “The Stutter Says a Lot”, Saosin tries their hand at The Moon is Down-era Further Seems Forever with incredibly smooth guitar tones and cool transitions. “Sore Distress” adds the addition of ear-pleasing keyboards atop an extremely experimental track that allows Green to shine, especially on the song’s airy chorus. Not to remove themselves too far from the norm, the track’s crushing bridge is highlighted by thrilling drum patterns, courtesy of Alex Rodriguez.

While Along the Shadow lives largely within the post-hardcore realm of Saosin’s wheelhouse, the band takes time to explore both ends of the spectrum. “Second Guesses” is a surprisingly poppy track reminiscent of “Finding Home”, while “Old Friends” provides a dark and sludgy, almost industrial vibe to one of the heavier tracks on the album. Even within the dense texture of the track, you can still pull out the signature Saosin guitar tones that help the track still feel close to home.

Yet for all of the new ideas and concoctions befitting of an album seven years in the making, the conversation surrounding Along the Shadow will rest firmly on the tracks that fans most identify with the Saosin they’ve been waiting on. And there’s no shortage of moments that remind us that the band are masters of melodic hardcore.

“Count Back from Ten” is the track that old school Saosin fans have been waiting more than a decade for. If the opening riffs don’t harken the ghosts of Translating the Name for you, then nothing will. Rodriguez’s drumming is otherworldly, driving the track through multiple changes of pace, especially during the track’s aching chorus, as Green sings, “And you’ll never find an answer / When you’re waiting there alone”.

“Illusion & Control” best exemplifies the old and new Saosin in a beautiful collision of guitars and Green’s vocals. The chorus is delightfully aggressive and the final minute of the song may be some of Saosin’s best work yet. The track closes with a violent ending, marked by the incredible drumming that made the final moments of “Collapse” so breathtaking on the band’s self-titled album.

Similarly, “Control and the Urge to Pray” will take fans back to the early days with squealing guitars and jerky transitions that keep you on your toes throughout. Green’s cryptic lyrics and off-kilter vocal melodies don’t hurt matters, either, especially as the song builds towards its conclusion: “Always a race to keep you dragging on / Until the currents change / Our days it pays to keep from burning out / You used to care so much”.

Still, for every moment in which Green’s signature cry feels like a homecoming, there’s still a sense in which his desire for a heavier outlet leads to out-of-place aggression. Several tracks on the album are harmed by monotone screeching when a more melodic approach would have sufficed.

“Racing Toward a Red Light”, one of the heavier tracks on the album, relies far too much on Green’s screaming, especially when you consider how delightfully melodic the song’s bridge is. On “The Stutter Says a Lot”, Green’s screaming once again hampers his own vocal patterns with unneeded hostility. For better or for worse, the Reber era of the band was highlighted by Cove’s ability to find soaring melodies that backlit the band’s heaviest breakdowns, something that is largely absent from Along the Shadow.

To dwell on such a hang-up feels like nitpicking of the highest order. What we have on our hands with Along the Shadow is one of the finest post-hardcore albums of the year from a celebrated band that many of us assumed to be gone for good. Whether this is Saosin’s swan song or a comeback story for the ages remains to be seen. For now, the band is once again a heavyweight title contender in the world of rock.

For all of the frustration and anxiety Saosin fans have vehemently vocalized in the time since the band stormed onto the scene in 2003, the payoff has been undeniably great. The band has delivered one of the most influential EPs in scene history and has now unleashed two undisputedly classic albums. Without a doubt, quality prevails – no matter how much we clamor for more.

4.5/5

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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10 Classic Music Videos Turning 10 in 2016

May 9, 2016 by Leave a Comment

underoath-writing-on-the-walls1

Though some may say the art of the music video died with the demise of MTV, we know better. Just take a look at some of the view stats on your favorite videos on YouTube – the art form is alive and well, and with the continued success of online streaming, is still serving as an introduction to some of our favorite bands.

It’s funny how the visuals from a great music video can stick with you years after the fact, popping into your head each time the song comes on. Just as we did last year, we wanted to take a look back at some of our favorite music videos that came out a decade ago. We remember the videos below playing seemingly on the hour on Fuse and waiting 30 minutes to watch a pixelated stream of the videos online. Ten years have passed, but the nostalgia of these clips lives on…

Underoath – “Writing on the Walls”

Directed by Swedish film company Popcore, “Writing on the Walls” immediately became an MTV2 staple and helped launch the band’s powerful Define the Great Line into the stratosphere. The video is a wild murder mystery set in a life-size doll house and would eventually be nominated for a Grammy award. Spencer Chamberlain’s literal in-your-face screams during the song’s crushing conclusion will still send chills down your spine.

Taking Back Sunday – “MakeDamnSure”

Speaking of songs that launched band’s to crossover stardom, “MakeDamnSure” served as Taking Back Sunday’s massive breakthrough, thanks in part to this incredible video. Trapped in a wind tunnel, the band sings atop artistic glimpses of tragic scenes turned beautiful with plenty of Adam Lazzara mic swings thrown in for good measure.

Cute is What We Aim For – “The Curse of Curves”

“The Curse of Curves” serves as a poignant reminder of what could have been. Cute is What We Aim For appeared destined to follow in the shoes of Fall Out Boy and Panic! at the Disco with their emo-drenched debut single, coupled with this video of a dishonest dinner party. Though the band may have not achieved the breakthrough everyone expected, lead singer Shaant Hacikyan’s haircut lives on in infamy.

The Red Jumpsuit Apparatus – “Face Down”

Another breakout single, “Face Down” introduced the world to The Red Jumpsuit Apparatus. “Face Down” tells the story of an abusive relationship and the battle to walk away. We’re still not totally sure how they got all of that furniture to fly through the air. Ah, the magic of cinema…

Gym Class Heroes – “Cupid’s Chokehold”

Another year, another Fueled By Ramen breakout. Gym Class Heroes made waves on the radio and television alike with “Cupid’s Chokehold”, featuring Fall Out Boy’s Patrick Stump. The video is as amusing as it is visually pleasing, telling the story of Travie McCoy’s search for that perfect girl, which turns out to be…Katy Perry. Too bad things didn’t work out.

Saosin – “Voices”

Would Saosin lose their edge with their debut full length and a new lead singer? Not after hearing the opening riffs of “Voices”. The song’s chaos is matched with inter-relationship and family fights and struggles, but there is peace to be found. As the song comes to its powerful close, the parties involved all make a decision to fight for peace.

Boys Like Girls – “The Great Escape”

Try to watch this video and not time travel back to 2006. The video for Boys Like Girls’ breakout single finds the story of the band on tour juxtaposed with some dedicated fans’ road trip to witness the performance. It’s the perfect summer anthem and the video captures the mood with brilliance.

Yellowcard – “Rough Landing, Holly”

There’s a good chance that “Rough Landing, Holly” is the most underappreciated pop punk video of all time. A spiritual successor to “Ocean Avenue”, director Marc Webb shows Ryan Key on the run. From what, we’re not sure, but in this universe, windows open into manholes and people can climb out of sinks. Pretty weird. And cool.

Cobra Starship – “Bring It (Snakes on a Plane)”

What a way for Gabe Saporta to make his first splash into the pop rock world. “Bring It” was attached to the end of the movie from which it was inspired, offering a laugh to movie-goers who stayed past the credits. For all of the silliness to be found in this song and video, it’s still exciting to see Saporta, Travie McCoy, William Beckett and Maja Ivarsson share the screen together.

Evanescence – “Call Me When You’re Sober”

After a prolonged absence following their breakthrough debut album, Fallen, Evanescence returned with the explosive “Call Me When You’re Sober”. It’s an over the top arena rock number highlighted by this video, featuring Amy Lee acting as a scorned Red Riding Hood, complete with wolves and levitational powers. Stay out of her way.

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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