Review: Copeland – Blushing

Anyone familiar with Copeland knows that the band loves to push boundaries. In terms of their lyricism and their production, they always aim above and beyond with each new project. Whether it’s for their own creative necessity or as a way to keep the fans coming after all these years, we can always count on them to impress us with each release. Their latest, Blushing, is no exception — but it is exceptional.

You can buy or stream Blushing on Apple Music.

Blushing begins with “Pope”, the first single the band released back in November. It’s a perfect opener and really sets the tone for how this album plays out. The spoken word in the middle is an important part of the album’s overall theme and eventually comes back around in the second-to-last track, “It Felt So Real”. As much as I don’t want to call this a concept album, it kind of is.

I loved Ixora. I know there were a lot of people who didn’t, but I liked the idea of an evolved Copeland. They were interested in branching out on that album in a way they weren’t before, and it was exciting. A lot of people are commenting on the videos Copeland posted for Blushing that it’s a whole album of songs that sound like “Lavender” from Ixora, and while I can definitely see where that comparison comes from, I don’t think it’s fair to write off the album based on that.

In Ixora, we had the girl standing “in the whitest dress,” clearly signifying either a marriage or a new relationship that hasn’t been touched by negativity yet. In Blushing, though, a lot of the honeymoon period we saw in Ixora is missing. There’s still plenty of love to go around, as seen in “Lay Here” and “On Your Worst Day”, but somewhere along the way, things have gone a little bit stale.

Gone are the days of Copeland singing about running through wildflowers. Vocalist Aaron Marsh’s character on Blushing is a tired man. He’s remembering the better times through dreams, which is where the spoken word comes in. She’s calling him out of that dream state and back to reality. In “Strange Flower”, he wonders if he’s enough for her. It’s all too relatable for a long-term relationship, and I think lyrically this might be some of the band’s tightest and most poignant work.

Copeland has a way of perfectly matching their music to the story they’re conveying. They said that with this album, they wanted to overdo everything they’ve done before. On their site, Marsh says, “…we wanted to emphasize each element of sound harder, like an exaggerated version of Copeland’s sound.”

With Blushing, that approach has succeeded, particularly with the use of string and jazz instruments. Neither of those are new for Copeland, but somehow they’ve made it feel fresh and never-before-heard. They were diligent with where they put compositional elements, they didn’t waste a note. Every sound serves its intended purpose well, and every moment of silence is placed exactly where it needs to be.

5/5

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

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Most Anticipated of 2019: #3 Copeland Put an Emphasis on the Experience

Blushing will be Copeland’s sixth studio album. It’s been almost four years since the release of their comeback album Ixora, and Blushing seems like it will be a worthy follow-up to what was a beautiful representation of where the band was in the six years they were quiet.

The band self-produced their upcoming release, and as we all know, Aaron Marsh’s production skills are top tier. They seem to have a big emphasis on the experience the listener will have with the album, rather than it just being a group of songs thrown together.

A piece on the band’s website explains what their aim with the album is and I couldn’t be more excited about the new direction. It, very appropriately, releases on Valentine’s Day.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Review: Mae – Multisensory Aesthetic Experience

In my experience, when an artist decides to create something and title it after themselves, it’s their way of saying that the collection of songs we’re about to hear are quintessential to the artist’s perception of themselves or the art they create. For Mae’s new album Multisensory Aesthetic Experience, this is both a blessing and a curse.

You can buy or stream Multisensory Aesthetic Experience on Apple Music.

It’s been 12(!) years since Mae offered us Singularity, their third full-length album. Maybe it’s too honest of me to say, but, up until this latest album, I’d only ever listened to The Everglow in its entirety. Strangely enough though, I join the masses of fans who judge Mae by that album, and with new one, it was no different. Multisensory Aesthetic Experience didn’t quite live up to the standard set by The Everglow.

Musically, the album is breathtaking. It soars in unexpected places and is just subtle enough in others. It’s constantly interesting and keeps everyone guessing. The opener, “Kaleidoscope”, is stunning with its use of strings. The creative direction they took with the composition of the album is what makes me enjoy it so much. It’s what I imagine outer space sounds like. This is why it’s self-titled. Mae’s ability to take a sonic concept and fulfill it to its highest capacity is something to behold.

I wish they had done the same with the lyrics. Whether it’s just weak lyrically or it’s personal, is up to each listener. The comments on YouTube are equally convincing for either side. It’s not quite what I’ve been used to from Mae, either from The Everglow or the other tracks I’ve heard throughout the years. There are tracks that I don’t feel this way about, like “5 Light Years”, which obviously plays to the space theme I mentioned before, or “Let It Die”, which sounds like the old Mae. “The Overview”, however, is a strange sort of spoken word that totally brings us back down and, for me at least, slows it down.

I’d have to say that “Simple Words” is probably my favorite track here, when it comes to the less experimental side of things. It sounds like an Everglow B-side, and I know that’s probably not a great reason to name a track your favorite, but that’s really my only reason. I’ve always loved the way Mae deals with the topic of young love and this is a wonderful embodiment of that.

This was a difficult album to write about because of how disjointed it seems to be. On one hand, we have what’s probably the finest example of what Mae is capable of as musicians and producers. On the other hand, their songwriting is rusty. My reasoning is that they figured that staying close to home lyrically while letting the music transport us would be the best bet to keep the album somewhat grounded. But it doesn’t really work, because we all know Mae is better than that. They’ve never been ones to shy away from loftier goals than what they’ve achieved in past releases. What I love so much about their old stuff is the whimsy they poured into each aspect, and that amount of effort isn’t quite present enough on what should be their defining album.

3.5/5

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Review: Emery – Eve

I’m obsessed with Emery. The harmonies, musicianship and lyricism have both spoken to me and impacted the rest of my musical taste in a way (almost) no other band has. I get excited whenever they even think about releasing something new. This stems from the time I saw the music video for “Butcher’s Mouth”. Something about that song (the video was just a means to an end, I guess) opened up a possibility to me about the span of music that was outside my adolescent bubble, and I’ve followed the band ever since, from albums to podcasts. I’ve never seen them live, which is really to say, hey, Emery, please come to Boston.

You can buy or stream Eve on Apple Music.

With 2015’s You Were Never Alone, my personal favorite album, the band embarked on a Kickstarter journey to self-fund the music they create. They broke up with Tooth & Nail Records and, with no offense to Brandon Ebel, started creating the best music of their career. This led to the release of last year’s Revival: Emery Classics Reimagined, and their latest, Eve.

Eve looks like a heck of a long album with 15 tracks, but it’s only 41 minutes long. Throughout the album, the band gets personal in a way they haven’t really done before. Generally, an Emery album consists of a bunch of songs about breakups, but (and I’m not sure whether this is a correlation) with the split from Tooth & Nail, the band’s last two albums constantly touch on new themes for Emery. There’s an entire set of Break It Down (Matt Carter’s podcast) episodes about You Were Never Alone. I won’t give you the details of them because it’s much more fulfilling to listen to them. The time and thought Emery puts into their art is really showcased in the episodes and really made me appreciate them more than I already had.

“Fear Yourself” might be the heaviest track here. Talking about sin and the hypocrisy in the church, Toby sings in the chorus: “Fear yourself is all I heard / Horror-struck from the Holy Word” and, “…outside those walls they mauled the witness / And we got back to business”. Very on-brand for the members to sing about; they deal with it in virtually every episode of their “Bad Christian” podcast. I mean, they wouldn’t have to deal with it so much if it weren’t so true and physically visible, but c’est la vie. These guys have become a voice of dissension in millennial church circles, but I happen to think it’s necessary.

“Safe” is a song that Devin and Matt wrote after both of their mothers passed away during the recording of Eve. It’s a lovely tribute, and the harmonies Emery is so known for really shine here.

A highlight of the album is the ridiculously titled, “People Always Ask Me If We’re Going to Cuss in an Emery Song”. Emery did not. I’m pretty sure this is a song to everyone who listens to their podcast (in which profanity is abundant) and, other than the question in the title, ask: “How can you guys talk like that and still be religious?” Emery’s reply is that they’re just words and they don’t matter.

Needless to say, I’m psyched with the new Emery album. I’ve got to take a little more time to dive into the lyrics and figure out where it fits into my Emery album ranking, but, so far, it’s pretty high up there. Kickstarter was made to release albums like this. The band has proven three times now that they’re capable of producing exquisite art, and Eve is another great example of that.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Reflecting On: Anberlin – New Surrender

“When I was 13 / I had my first love / There was nobody that compares to my baby / And nobody came between us / No one could ever come above”.

What does Ludacris’ verse on Justin Bieber’s critically acclaimed single “Baby” have to do with Anberlin? If you’re like me: Everything.

You can buy or stream New Surrender on Apple Music.

When I was 13, I thought I knew everything there was to know about music. I thought Tooth and Nail was the best record label. I was trying to come into my own personality. In reality, I was just pretentious and nobody wanted to listen to the cool music I found because of my attitude. The biggest band for me during that time period was Anberlin. They opened the door to the rest of the alt rock world and still continue to blow me away today.

When I found them, I was listening to my favorite internet station, RadioU. The band’s cover of New Order’s “True Faith” was playing and I was obsessed with the guitar riff. I know, weird to get into a band via a song that’s not even theirs. If you actually listen to the track, though, (you’ll have to do so on YouTube, as it’s no longer on Spotify), it sounds authentically Anberlin. It took me a while to find out who it was (it being the radio and all), but once I did, there was no turning back. I became a fan of Anberlin—a Fanberlin, if you will.

All of this brings me to their 2008 release, New Surrender. The album is criminally underrated. It came a mere year after what many claim is their greatest achievement, Cities. It can be tempting to write off the album that comes after a band’s best, and oftentimes, you’d be correct to do that. But with New Surrender, I think you’d be wrong to.

I’ll admit that the album isn’t Anberlin’s strongest. It came in a tumultuous period in the band’s history. They’d just signed to a major label and released the best album of their career. It’s hard to put your best foot forward as that kind of pressure mounts. So the band gave it a shot. New Surrender isn’t hard-hitting like Cities was, and it’s not quite as melodically pleasing like Never Take Friendship Personal. The album, though, has some of the most meaningful lyrics Anberlin has to offer. From the emotional and mildly petty “Breaking” to the thematically heavy “Soft Skeletons”, the band really gave something for everyone.

Here is an overview of some of my favorite tracks:

“Breaking”, simply because it’s a classic. There’s no Anberlin without “Breaking”. If you disagree, you can come fight me. You know I’m right.

“Burn Out Brighter (Northern Lights)” because of the story. The song was written because of an episode of plane turbulence and basically reckoning with the fact that it could all be over in a second, making the most of what we have and the time we have to enjoy it.

“Younglife” has a special meaning for me lately in a way it hasn’t previously. I used to think fondly of high school and hanging out with my friends and messing around, like in the first verse. But as I think about my upcoming marriage, I think about the second verse: “Hey lover / Do you remember when / We used to dance in our apartment ‘till neighbors would knock on our door / And I remember / Do you remember when / We had no money to speak of / Nowhere else to eat but your floor / I wanna do it again”.

“Haight St.” has that same kind of connotation for me. It’s a fun track and one of the band’s more upbeat offerings, so there’s that for a stylistic approach. The whole album just holds this intense nostalgia as I’m looking back at my younger days. Old enough to know, too young to care.

So I don’t know if this has been so much of a reflection as it has been a, “Hey this album is still very relevant!” That’s what makes New Surrender timeless. It brought me through high school and the weird turbulence that is adolescence and now it’s here to remind me of the little things like building my first dining room table. It’s a picture of how to hone in on the finer points of life.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Reflecting On: Secret & Whisper – Great White Whale

I was too young to listen to Great White Whale when it was first released in 2008. I remember, though, being about 14 and seeing the music video for “XOXOXO” and being utterly intrigued by Secret & Whisper.

Since that first experience with “XOXOXO”, both of Secret & Whisper’s albums have become staples of mine. I look back at the release of Great White Whale with fondness, because they’re one of the bands that helped me form my own taste in music.

You can buy Great White Whale on iTunes.

My parents listened to a lot of acoustic music – James Taylor, Marc Cohn, etc. They’re also very conservative when it comes to music and that’s mostly what I grew up with. I was about 13 when I got my first “hard rock” album. It was Innocence and Instinct by the rock band Red. That, along with bands like Relient K, started me on a path of music discovery.

Because of Secret & Whisper, I became an avid follower of label Tooth and Nail Records, coming in toward the end of what I consider to be the label’s “golden age.” Bands like Underoath, Emery and Anberlin are still favorites to this day, as well as smaller bands like Secret & Whisper and Number One Gun.

My parents weren’t a huge fan of me listening to rock and alternative music, so I guess I used Secret & Whisper as a sort of compromise. Great White Whale leaned on heavy guitars and post-hardcore breakdowns while forgoing harsh, screaming vocals that would have certainly been deemed controversial. Charles Finn’s singing voice is about the opposite of harsh, actually. As far as I’m concerned, he’s still unmatched as one of the best vocalists to come from the scene.

Even aside from what it means to me, personally, I believe Great White Whale is underrated, showcasing early signs of a talented and unique band. That originality, of course, means it wasn’t everyone’s favorite album, but it sounded so interesting and new to me that I fell in love with it. I have yet to find a band that’s given me that same feeling. (I’m sure that’s partly due to the teenage angst though.)

A decade later, I believe Great White Whale still holds up as one of the most unappreciated ventures in recent rock history. Interesting lyricism with a real storytelling aspect, complicated musical composition, and soaring vocals are an example of what made a band like Secret & Whisper so great.

The rock genre allows artists to experiment in virtually any way they want. The only downfall to Secret & Whisper is that this was their first of only two albums. The band would take an indefinite hiatus in 2011 after the release of Teenage Fantasy – a break that continues to this day. Maybe they’ve kept a tiny sparkle of their potential alive and will release more music for us to enjoy one day. In the meantime, Great White Whale remains a great catch.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

mewithoutYou Celebrate 15 Years of “[A→B] Life” on Recent Tour

If I had to describe mewithoutYou’s recent stop in Cambridge, Massachusetts, in one sentence, it would be this: “Come watch Aaron Weiss shred the flowers taped to his mic stand while he screams the lyrics to ‘Gentleman’.” I watched their stagehand come through with a bouquet and duct tape in between guitar tuning and soundcheck. I smiled and thought about how sweet it was, not even realizing how insane their set would be. This show was my first experience seeing mewithoutYou and I was not disappointed. All three bands that played were full of raw energy and talent.

The first band to take the stage was Slow Mass. Based in Chicago, they are one of the most talented opening acts I’ve seen this year. The energy they exude is completely infectious. I love seeing a band interact with one another on stage; I love a band who is in touch with all of their members, equally. The bassist stood out for her intricate and unique playing, as well as for her use of subtle vocals. Their second song, “Dark Dark Energy” especially displayed their creativity and originality. I never wanted their set to end.

Slow Mass

I feel like bands choosing support for their tours have been more intentional and considerate, and it has paid off. Some of the best bands I’ve heard have been opening acts and it thrills me to see newer bands going on the road with bands who are seasoned and getting to watch today’s opening bands grow into their sound and eventually become tomorrow’s headliners.

I typically grab my merch before the show so I was all set by the time Slow Mass took the stage. Needless to say, I made another purchase after their set and let the band know how impressed I was. (Seriously, look them up – you won’t be disappointed). They’re loud and heavy and drove their sound forward in a way that really ignited the crowd and got us into the mood for the rest of the night.

The next band was Pianos Become the Teeth. I saw them perform in 2015 with The World Is a Beautiful Place and I Am No Longer Afraid to Die and I was so excited to see them play again. Their last album, Keep You, really resonated with me when I first heard it and I enjoyed getting to hear those songs live again. They also played a new song, “Charisma”, and that got me even more pumped for their 2018 release, Wait for Love. They really brought the show into a quieter spot with a lot of their setlist, mostly tracks from Keep You, which was a bit of a break when compared with Slow Mass.

Naturally, the whole reason the Sinclair was full was because of mewithoutYou. A band full of mystery and the topic of whimsical legends, I was excited to see how they’d bring that persona into their stage presence. They played their album [A→B] Life in its entirety, in honor of the 15-year anniversary of its release. The album is known for its heavier sound; I could hear the strain in Aaron Weiss’ voice as he yelled out the lyrics and it brought a new perspective to why they pulled back on a harsher vibe in their later releases.

mewithoutYou

There was actually a date on the tour where he lost his voice and they had to play the whole album acoustically. That was not the case, however, for this particular show, and the crowd was full of energy and raw affection for both the band and the songs that we’ve all been enjoying for a decade and a half.

Everyone around me stopped moshing after the band finished playing [A→B] Life and stood with rapt attention to the stage as Aaron and his brother Mike played the acoustic, hidden track version of “I Never Said That I Was Brave”. Aaron then stayed on stage alone with his acoustic guitar and played “Chapelcross Towns” and “Goodbye, I!” I’ve never heard a venue so quiet before. It was truly a lovely testament to just how much respect mewithoutYou garners. The rest of the band then returned and played five more songs from their discography, my favorite being “Torches Together”.

It’s truly special to be able to go to shows and spend the evening with people who are there with you to celebrate a musical milestone. mewithoutYou has been such a steady musical influence and it was a privilege to be able to experience an album that is still relevant 15 years later.

by Nadia Paiva

kiel_hauckNadia Paiva has been a music enthusiast since she can remember. Going to shows is her main pastime. The other is being upset when she can’t go to shows. This is her first official venture into writing about music. You can follow her on Twitter.

Podcast: Interview with Emery’s Matt Carter

Somehow, in between hosting multiple successful podcasts and fulfilling his duties as co-founder of an independent media company, Matt Carter still finds time to play guitar for Emery. Matt joined Kiel Hauck on our latest podcast to discuss what goes into the making of one of this year’s hit new podcasts – “Labeled: The Stories, Rumors, & Legends of Tooth & Nail Records”. He also shares how Emery re-imagined some of their favorite songs for their recent release, Revival, gives his take on recent news regarding sexual misconduct in the scene, and much more. Listen in!

Subscribe to our podcast here.

What are some of your current favorite podcasts? Share in the replies!

Posted by Kiel Hauck

Reflecting On: Anberlin – Cities

anberlin_photo_2007

While Cities is widely regarded as Anberlin’s best album, the argument can be made that it never fully received its due. However, it’s quite possible that both the band and its fans would have suffered if it had.

Leading up to 2007, the Florida rock act had quickly ascended the ranks, becoming one of the most revered bands in the scene. Anberlin spent their first two albums, Blueprints for the Black Market and Never Take Friendship Personal, honing their sound and bridging the gap between the popular emo leanings of the time and full-on alt-rock. By the time Cities dropped, it was clear that Anberlin had carved their own niche.

You can buy Cities on iTunes.

You can buy Cities on iTunes.

Cities can’t quite be classified as a concept album, but is certainly far more than a collection of songs. The album’s tracks are intertwined by themes of pain and frustration – an acknowledgement of the depravity that affects every community and relationship. Yet amidst the brokenness lies a will to continue the search for hope.

Not only was Cities a deep thematic success, the album showcased a band that had refined its sound to perfection. Underneath the album’s crisp production lied evidence that Anberlin had become a new leader in the genre, no longer following in the footsteps of others. Even 10 years later, Cities sounds unique for its time. If it were released today, it would still sound just as fresh and compelling.

However, just a few short months after its release, and before fans could fully digest the record, the band announced some shocking news. Having completed their contract with indie label Tooth and Nail Records, the band had been courted and signed by Universal Republic and would return to the studio to begin crafting their major label debut.

Although both the promotional and touring cycles for Cities were cut short, fan excitement for the band heightened. Soon, rumors spread that Universal Republic might re-release Cities to a wider audience or that the band might even re-record the album with new guitarist Christian McAlhaney now in their ranks. The events that followed are almost stranger than fiction, but somehow elevated the band to heights that no one expected.

There would be no major label lionizing of Cities. Instead, Anberlin released “Feel Good Drag” in the summer of 2008 as the lead single for New Surrender. The re-recorded song from 2005’s Never Take Friendship Personal left fans befuddled, as did the rushed writing and recording of the new album itself. Before Cities had even cooled off, the album had seemingly been replaced with what many perceived to be an inferior product.

However, “Feel Good Drag” became an unlikely breakthrough hit. During its 29-week climb to the top of Billboard’s Modern Rock Chart, the track became a record-breaker, spending more time on the chart en route to #1 than any other single in history. Suddenly a staple on rock radio and MTV, the band were booking large headlining tours, playing bigger venues, and attracting a massive new audience.

From a fan perspective, New Surrender received flack upon its release for feeling cluttered and uneven. While certainly not without its standout tracks, the album seemed to lack sonic direction, but also suffered from being quickly released on the heels of the band’s masterpiece.

In hindsight, there’s no denying that Anberlin’s major label signing and the sudden unexpected success of “Feel Good Drag” overshadowed what the band had accomplished with Cities, but it also changed the lives and careers of the band’s members. Without those events, would the band have been able to experiment to such critical success with 2010’s Dark is the Way, Light is a Place, return to their aggressive roots with 2012’s highly lauded Vital, or been able to exit on their own terms with 2014’s Lowborn?

Without the perceived slight that Cities received in 2007, the conversation surrounding one of the scene’s most successful and respected bands might be much different. Now, a decade later, we can talk about the album with full knowledge that Anberlin achieved a great deal over the course of their 16 year run, and that later albums like Dark is the Way and Vital even rival what the band accomplished with Cities.

Over the course of seven solid studio albums, it is my opinion that Cities is Anberlin’s most cohesive, focused and exemplary release. It features the band’s best song (“Dismantle. Repair.”), the most powerful album closer I’ve ever heard (“*Fin”), and best represents the band’s sound and purpose. However, if the short cycle of Cities meant the extended career and expanded audience of one of my favorite bands, who am I to complain?

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: Aaron Gillespie – Out of the Badlands

aaron-gillespie-badlands

There is truly no denying Aaron Gillespie’s love of writing, recording and performing music. Even after his time as drummer for legendary post-hardcore act Underoath came to an end, as did his alt-rock side project The Almost, the Clearwater, Florida native has kept himself busy as the touring drummer for rock powerhouse Paramore, along with a smattering of other projects. While researching for this very review, I found that he had released another worship album just last year.

You can buy Out of the Badlands on iTunes.

You can buy Out of the Badlands on iTunes.

Thus, without proper context, Gillespie’s latest offering, Out of the Badlands, could potentially be labeled as lazy. Featuring only three original songs, the release largely consists of cover tracks and re-imagined songs from Gillespie’s past. However, one listen to Out of the Badlands makes clear that these songs were anything but mailed in.

Seeing as how Gillespie was a founding member and an integral songwriter for my favorite band of all time, he had me at “Underoath.” It’s true: Out of the Badlands features stark new versions of “A Boy Brushed Red… Living in Black and White” and “Reinventing Your Exit” – two fan favorites. Once a fast-paced screamo anthem, “A Boy Brushed Red” now finds itself as a patient acoustic track, with Gillespie’s plea of “This is where we both go wrong” sounding more painful than ever.

That’s what makes Badlands so captivating – even though we’ve heard many of these songs before, there’s an added depth and grief to be found in the wake of divorce. It’s fascinating to hear songs written over a decade ago find a new powerful meaning. The three original tracks on the album make clear where this new influence has come from.

“Raspberry Layer Cake” has a throwback country vibe with Gillespie using a deep raspy delivery to drop the sorrowful lines, “When everything you have is taken away / Like a lie on your wedding day”. By the time the album comes to a close with the journal entry-esque “You Don’t Love Me Anymore”, the pace has increased significantly, even if there is still little solace to be found. Even so, Gillespie’s voice once again sounds familiar on the soaring chorus as he extends his range to resolve the raw melody.

Other highlights on Badlands come in the form of a cover of Bonnie Raitt’s “I Can’t Make You Love Me”, existing as a stripped down slow burn. The best of Gillespie’s The Almost reinventions is “No I Don’t”, transforming from an explosive pop rock track to an indie rock song highlighted by the same infectious melody. Both “Say This Sooner” and “Southern Weather” fail to differ enough from the originals in any remarkable to warrant their inclusion here.

All in all, Out of the Badlands serves as a time capsule showcasing some of Gillespie’s greatest hits, while also providing as a salve that surely proved therapeutic during the recording process. These new revisions give an insight into the artist as a weathered adult and oddly stand strong alongside his new entries. With this effort, Gillespie appears primed to close another chapter and embark on the next stage of his continually ambitious career.

3.5/5

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.