10 Classic Music Videos Turning 10 in 2015

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Here at It’s All Dead, we have a lot of fun celebrating albums that have stood the test of time. In February alone, we reflected on three classic albums that are turning 10 years old in 2015. However, we thought it was time to show some love to some of the great music videos that we’re still watching a decade after their release.

A good music video captures our attention by telling its story visually. It relies on more than just cool shots of the band – it’s a unique glimpse into a normally unseen dimension of a song. Below are some of our favorite music videos from 2005. These videos not only introduced us to some of our favorite bands and records, they cemented a visual element of each song into our minds.

Take a look and share some of your favorite music videos from 2005 in the replies!

Anberlin – “Paperthin Hymn”

Directed by Chris Sims, the video for Anberlin’s “Paperthin Hymn” is one of the best to come out of the scene. A heart-wrenching story of two young lovers takes a shocking and unexpected turn at the end and captures every ounce of vocalist Stephen Christian’s emotional cries.

Thirty Seconds to Mars – “The Kill”

Another wildly successful video on MTV, “The Kill” plays out like “The Shining”, finding the band inside of a ghostly hotel. It’s creepy, dark and pays homage to a horror classic. When lead singer Jared Leto comes face to face with himself in the hallway during the song’s explosive bridge, it’s impossible to look away.

Panic! At the Disco – “I Write Sins Not Tragedies”

This video not only skyrocketed Panic! At the Disco to superstardom, it won the MTV Video Music Award for Best Music Video. Not bad for a debut. Classically theatrical and over the top, “I Write Sins Not Tragedies” features heavy makeup, a fire breather and a full-blown circus. It’s Panic! at their best.

Fall Out Boy – “Sugar, We’re Goin Down”

Ah yes, the classic love story of a deerboy and the daughter of a hunter. Huh? As strange as it sounds, this music video worked wonders in breaking out Chicago’s pop punk sweethearts. Throw in a mighty point to the sky from drummer Andy Hurley and Pete Wentz’s signature salute, and you’ve got a classic.

The All American Rejects – “Move Along”

The break-neck video for “Move Along” finds All American Rejects frontman Tyson Ritter dressed as a doctor, a football player and even a librarian. With performance shots from the bottom of an empty swimming pool, this quirky music video was an MTV staple during the band’s rapid ascent in 2005.

Paramore – “Pressure”

Paramore’s first music video was a great one. Telling a story of teen frustration and angst, “Pressure” introduced us to a group of future rock stars. The video is capped off by the band’s signature over the back cartwheel as water pours from overhead.

Chiodos – “Baby, You Wouldn’t Last a Minute on the Creek”

This is a weird one, to be certain. Chiodos’ big break came in the form of “Baby, You Wouldn’t Last a Minute on the Creek”, an angry song about the dissolving of a relationship. The video features a mouse and a bird throwing down in a dark alley before collapsing in each others arms. As strange as it sounds, it packs a punch.

The Academy Is… – “The Phrase That Pays”

Is William Beckett insane? The music video for “The Phrase That Pays” would have us think so. A coming out party for The Academy Is…, this video finds the band in hospital gowns, taking their meds and passively watching the tube. It’s as weird as it is fun.

The Used – “I Caught Fire”

The music video for “I Caught Fire” captures the energy of The Used perfectly. With bright colors, a black light and rocking performance shots, this video is perfectly celebratory for such an anthemic love song. Also, Bert McCracken’s flower-in-the-mouth shot is hard to forget.

Cartel – “Say Anything (Else)”

This poppy opener to Cartel’s debut album Chroma was destined to be a single. It rightly features bright colors, a peppy spunk and clever message bubbles throughout an 80s inspired video. It’s cheesy, but it’s earned.

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.

Justin Shekoski of Saosin to Fill in for The Used

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Yesterday, The Used announced that guitarist Quinn Allman will be taking a hiatus from the band during 2015. However, Saosin guitarist Justin Shekoski will be filling in for the band as their touring guitarist this year. You can read a statement from the band below:

We are saddened to announce that Quinn will be taking a temporary hiatus from the band for the next year. Quinn is a vital part of the group and we wish him the best in his upcoming endeavors and look forward to the day he rejoins us on the road. We are thrilled, however, to share that Justin Shekoski of Saosin will be filling in for Quinn as we hit the road this year! Justin has been a close friend to all of us for many years and will help make this tour a memorable one!

What will this mean for the future plans of Saosin? Share your thoughts in the replies!

Posted by Kiel Hauck

The Past is Present: Riot Fest 2014 – Day 2

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Believe it or not, this year marks the 10th anniversary for Riot Fest, Chicago’s own punk rock music festival and carnival. While locals can likely recount the event in its early days, only in recent years has the festival become a full-blown, internationally respected gathering. The 2014 lineup was one for the ages, honoring both past and present movers and shakers in the punk scene and far, far beyond.

Saturday was marked by big names that spanned multiple genres: Indie rock (The National, The Flaming Lips, Metric), hip hop (Wu Tang Clan, Die Antwoord), punk (Samhain, Descendants), rock (Taking Back Sunday, The Used, Dashboard Confessional), and much more.

If you had difficulty putting together your personal schedule, you weren’t the only one. The good news is that no matter where you found yourself, it was nearly impossible to feel disappointed.

One of the things that has made Riot Fest so noteworthy of late is its ability to showcase bands that are reuniting at the event, saying goodbye, or paying homage to their past. At this year’s festival, 10 major bands played classic albums from front to back, adding even further motivation to attend (as if you needed it).

Looking at the massive crowd, it’s easy to tell that this method of attraction is working. Riot Fest feels like Warped Tour grown up, drawing in thousands of former punk rock youths now turned adult, feigning for a chance to see their favorite band one last time. It’s hard to remember an event becoming this relevant by celebrating the past.

Personally, my day was awash in nostalgia. My main reason for attendance was to say goodbye to one of my favorite bands – Saosin. The group recently reunited with original lead vocalist Anthony Green after being dormant for over four years. The resulting one-off shows have appeared to come to an end with their Riot Fest appearance.

Even with their set landing in the middle of the afternoon, Saosin still drew a large crowd of devoted fans who appeared both excited and anxious about what appears to be an impending end. Green appropriately addressed the crowd upon taking the stage by stating, “Hi, we’re Saosin from ten years ago” before launching into “Lost Symphonies”.

These sorts of nods to the past abound throughout the day. Dashboard Confessional took the stage on Saturday for only the fourth time in the past four years as Chris Carrabba’s new project, Twin Forks, has taken the lead. Nevertheless, Carrabba looked elated as the band performed fan favorites from Swiss Army Romance and The Places You Have Come to Fear the Most with every crowd member singing the words.

If that last sentence sounds familiar, it’s probably because we’ve all lived it before. There’s something about Riot Fest that causes these performances to seemingly live outside of the norm – a time capsule that allows you to emotionally transport back to youthful excitement.

That’s not to say that this isn’t good music in the present. Far from it. In fact, Say Anything sounds at their best during their set when playing tracks from their latest album, Hebrews, even if they still rope you in with classic cuts from …Is a Real Boy. The Used show off ferocious new songs from Imaginary Enemy, but still bring the house down with “A Box Full of Sharp Objects”.

Finishing off the day at the Rock Stage is Taking Back Sunday, drawing one of the festival’s largest crowds of the day. A veteran band with a large following built during their early days, they waste no time in breaking out “Cute Without the E (Cut From the Team)” before moving on to newer songs from Happiness Is and older classics. It’s not a trip down memory lane for the crowd – it’s the experience of a band with a now monstrously strong front-to-back catalogue.

Lead vocalist Adam Lazzara may no longer be a spring chicken, but he flashes glimpses of youthful exuberance, highlighted by his signature mic swinging and capped by his climbing of the stage scaffolding during the band’s final song.

Lazzara isn’t alone in his impassioned performance. Carrabba, Green, Bert McCracken, Max Bemis – they all shared a fire on Saturday, looking and sounding as sharp as ever. Call it an anomaly if you will, but there’s something about the friendly confines of Humboldt Park that seem to bring out the best in the bands we’ve loved for the past decade.

Rock and roll is a young man’s game, but if this year’s Riot Fest proves anything, it’s that punk’s current, and even past, generations aren’t quite ready to hand off the baton just yet. Judging from the crowd response, it won’t be any time soon, either.

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.

Review: The Used – Imaginary Enemy

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At Warped Tour 2013, The Used took the stage in the colorful neon face masks that signify the Russian punk rock activists Pussy Riot. Part of their set was played in the masks before they were removed, and a cascade of rainbow powder flew over the swarming crowd like smoky rain. It was an energetic, memorable riot that played the perfect centerpiece for the energy that The Used brought to the stage.

Imaginary Enemy is a riveting, constantly evolving and inflammatory punk album. To newer listeners, it is a concise and powerful album, serving equal parts rampaging energy, fun.-inspired pop and American Idiot stylized anarchist lyrics.

Fans of the band’s past works may have a much harder time finding the love in this album that they had hoped for, but this is a much larger, more mature and enraged album than many past efforts.

The Used have altered their sound slightly for each album, introducing different elements and gradually making a light shift towards a poppier sound. Imaginary Enemy is first and foremost a pop album, despite leading with a heavy rock song like “Revolution”.

The Used have more or less abandoned the hard edge that made them famous, as well as the screams of vocalist Bert McCracken. If that alone deters you, you will not like this album, period. If you’re willing to still ride the ship out, Imaginary Enemy is an ambitious album that toys an expectation that hopes to rally the awareness of the evils in persecution and rampaging government.

As stated, this is a pop album. Several songs have a soft open, piano and synth play an integral part to a majority of the album and the screams are few and far between. That’s not to say that the sound is bad, it’s just different.

For being an album with the theme of revolution, it is quiet and stealthy. It feels like a lot of elements may be based off of the sound bands like fun. or the softer parts of Panic! At the Disco. Allegedly, the album was written “backwards” with the music written to accompany the already recorded vocals, which could explain the eccentric change in tone from this album and the rest of the discography.

That said, each song is surprising and unlike anything they’ve released thus far in their discography. The hooks are immaculate, varied and expertly executed. Quinn Allman’s guitar work is flawless and intricate, bringing to mind something akin to AFI’s Jade Puget on Crash Love. Even though he’s the only guitarist, he manages to keep the framework and sound of several musicians at once.

Jeph Howard’s bass guitar work keeps the hooks popping and never sounds dull, even in the slowest songs. Dan Whitesides’ drumming is hypnotic and incredibly powerful, dipping from the sounds of natural and electronic drums.

Opening track “Revolution” is the most punk song on the record, offering chugging chords and a brutal chorus designed to bring the pit to pure ecstasy. “A Song to Stifle Imperial Progression (A Work in Progress)” is one of the more bizarre songs on the record. It’s a fuzzed vocal punk song that suddenly turns into a disco-tinged dance song for an anarchist chorus of, “We’re saying no way, no way USA”.

Most of the middle section of the record is painted with soft rock and ballads, like the soft spoken “Evolution” with sprinkled keys of what sounds like a toy xylophone. “Kenna Song” features the gentle guitar strums of Jimmy Eat World backed by thunderous drumming and backing vocals made for indie pop radio.

My only real complaint with the sound is that it’s too overproduced. The music is a little too over the top, though it allows the piano and keys a beautiful groundwork to play over. However, a little more crunch and fuzz to the guitar and bass would have helped keep an edge to the music that loyal fans would’ve appreciated.

Lyrically, this is the most incendiary the band has ever been. The new political nature of the band is a welcome advancement in theme over the broken heart and overly tread emo lyrics in the genre. It’s much more provocative and enticing where it needs to be.

It’s a nice journey through the evolution in discovering the hatred of politics that runs full circle, from the opening choruses of, “This is the end, this is the end, calling for revolution”, to the confusion of “Imaginary Enemy” as McCracken sings, “Who taught me to hate you, hate you, hate you? Who created the enemy?”

While it’s easy to brush aside the lyrics as anti-government or anti-USA, there’s a deeper underlying ideology to it that focuses on the rage in not knowing who to be angry at, and being a generation falling in line because there isn’t anyone to focus that anger on. In “Force Without Violence”, he sings, “This brave opposition comes naturally, being exactly who we’re supposed to be / Things will never change if they remain the same, being exactly who we’re supposed to be”.

Imaginary Enemy is an album that shows a band leaving the comfort zone entirely, possibly for the better. If you were hoping for the next great hardcore record, keep looking. For anyone else, this is an incredibly surprising, sometimes cheesy, but powerfully mature record of pop songs and anger. To say the album will be divisive is an understatement; it’ll be remembered as their most disappointing record, or their greatest hour.

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 yells at the rain on occasion. He also wants to play you in FIFA.

Taking Back Sunday release “Flicker, Fade” music video, announce tour

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Taking Back Sunday has released the official music video for their new single “Flicker, Fade”. The song is from their upcoming release Happiness Is, which is set to be released on March 18 on Hopeless Records. Check out the video below:

In addition to the new album, Taking Back Sunday has also announced that they will be co-headlining a Spring tour with The Used, with support from Tonight Alive and Sleepwave. Dates for the tour are below:

3/14 Quiktrip Park – South By So What Dallas, TX
3/15 Backstage Live San Antonio, TX
3/16 Bayou Music Centre – HWHAP Fest Houston, TX
3/18 Marquee Theatre Phoenix, AZ
3/21 In The Venue Salt Lake City, UT
3/22 In The Venue Salt Lake City, UT
3/23 Knitting Factory Boise, ID
3/25 Warfield San Francisco, CA
3/27 Palladium Los Angeles, CA
3/28 House of Blues San Diego, CA
3/29 Extreme Thing Las Vegas, NV
4/1 Ogden Theatre Denver, CO
4/2 Sokol Omaha, NE
4/4 Eagles Ballroom Milwaukee, WI
4/5 Concord Music Hall Chicago, IL
4/6 Fillmore Detroit, MI
4/8 Kool Haus Toronto, ON
4/9 The Armory Rochester, NY
4/11 Webster Theatre Hartford, CT
4/12 House of Blues Boston, MA
4/13 Tower Theatre Philadelphia, PA
4/15 Best Buy Theatre New York, NY
4/19 Sands Bethlehem, PA
4/22 Fillmore Silver Spring, MD
4/24 The Tabernacle Atlanta, GA
4/26 Revolution Ft.Lauderdale, FL
4/27 House of Blues Orlando, FL

You can preorder Happiness Is here.

Posted by Kiel Hauck