The Spirit of Eisley Perseveres on Latest Tour

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There’s no room for Sherri DuPree-Bemis to hide. The stage at the Hi-Fi in Fountain Square, a small artsy district just south of downtown Indianapolis, is small, just like the venue itself, and sits at the front of a tiny room packed shoulder-to-shoulder with onlookers. Unfazed by the mission at hand, the woman now tasked with leading one of indie rock’s most charming bands steps up to the mic and belts out the opening notes of an 18-song set.

Sherri is no stranger to the stage, but recent events have changed the dynamic. Earlier this year, it was announced that Tyler, Texas, outfit Eisley would continue on without two of its founding members (and two of Sherri’s sisters): Stacy King and Chauntelle D’Agostino. In preparation for a fifth full-length album coming in early 2017, Eisley is back on the road in their new formation.

For a band that has relied heavily in the past on whimsical harmonies and team vocal duties from each sister on stage, Eisley has a new feel with Sherri’s edgy delivery taking the spotlight. In an effort to retain the multi-vocal feel of the band, younger sister Christie DuPree now flanks Sherri onstage, providing her own unique twist to the songs.

Before Eisley’s performance, Christie and Remington DuPree took the stage as Merriment, a stripped-down indie pop act that resembles a lighter side of their older siblings’ music. Merriment debuted with Sway in 2014, an effort full of promise and light. As the duo prepares for their follow-up, it’s clear that Christie is more comfortable than ever on stage, whether performing upbeat indie folk tracks like “Backwards” or slow-burning acoustic ballads like “Patterns”.

Eisley

Eisley

On stage with Eisley, Christie offers range for the band, especially as they perform older tracks like “Brightly Wound” and “Trolley Wood”, serving as a soothing harmony to Sherri’s bite. Even so, the night’s set finds Sherri fully embracing the role of front woman in all the right ways. She owns the stage during performances of “Smarter” and “Many Funerals” and even sounds strong taking the lead on tracks that were previously piloted by Stacy, like “Ambulance” and “Shelter”.

As wonderful as it is to hear these tracks performed again after the band’s brief hiatus, the night’s best moment belongs to a rendition of their latest song, “Defeatist”. Here, Sherri sounds more confident than ever as she belts out the pleading chorus of, “You know I want to / You know I will fight / Down in the trenches / Holding your hand tight”. It’s a song of determination – one that fits the current mood of Eisley quite nicely.

The wait for more new Eisley music is likely to feel lengthy, but despite past trials, the band has never failed to deliver. As odd as it feels to gaze upon the stage and not see Stacy behind the keyboard and Chauntelle with her guitar, it’s still inspiring to watch Sherri carry on. On the band’s latest track, she labels herself a defeatist. It’s a bold self-assessment, but from our view on the floor, her demeanor is one of strength and resolve.

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.

Blink-182 Caps Off Summer in Style on California Tour

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As the cool nights and crisp air of autumn arrive, there’s really no better way to celebrate the passing of another summer season than with one last night of pop punk bliss. Fortunately for us all, blink-182 has provided just such an affair with their latest tour.

Not many expected one of 2016’s biggest tours to involve blink-182, especially after another messy fallout with Tom Delonge early last year, but the band has rebounded in a way that seems to defy logic. Alkaline Trio’s Matt Skiba hasn’t just filled Tom’s shoes – he’s elevated the band to another level with his stellar performance on blink’s latest release, California.

As the band embarks on yet another trek through the country’s biggest amphitheaters, they’ve brought out the big guns in support. All American Rejects and A Day to Remember warmed the stage for the California Tour’s recent stop in Indianapolis – two bands you wouldn’t typically expect to find on an opening bill.

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All American Rejects

All American Rejects

It’s been a minute since The All American Rejects have found themselves at the forefront of the pop culture ethos, but there’s no denying their credentials. While 2012’s Kids in the Street didn’t match past commercial and critical success, the band seems as strong as ever onstage as they prepare for their fifth full length release.

Tyson Ritter sounds every bit as much of the showman he was when the band broke through to the mainstream just over a decade ago. In addition to a taste of what’s to come with “DGAF”, the band rips through fan favorites like “Move Along”, “Swing, Swing” and “Gives You Hell” with ease. Here’s hoping for a return to the pop gold that made past releases from the band such a treat.

Having watched A Day to Remember play club shows and side stages at Warped Tour over the past several years, I actually got choked up seeing the band take the stage in front of a crowd of 20,000 people. For all of the hard work the band has put in, for all of the relentless touring, for all of the label battles and determination to stay true to their craft, this feels like a rightful reward for A Day to Remember.

A Day to Remember

A Day to Remember

Jeremy McKinnon has always had a stage presence worthy of large crowds, and his confidence was on full display in Indianapolis. McKinnon struts from side to side, riling the crowd and effortlessly transitioning between his signature growls and clean vocals. The band devoted one song of their set to their latest release, Bad Vibrations, choosing to play a variety of fan favorites, including the obvious opener, “The Downfall of Us All” and crowd-pleasers like “Right Back at It Again” and “All I Want”.

The set is punctuated by typical ADTR fare: beach balls bouncing atop the massive crowd, synchronized head-banging to supplement the band’s breakdowns, and one of the most colorful and playful stage set-ups you’ll ever see. The entire production is spot-on, offering gratification to long-time fans and a worthy introduction for newcomers. Just to show that time hasn’t worn the band thin or softened their delivery, A Day to Remember offers the night’s most pulse-pounding moment with “2nd Sucks”.

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I’ll admit that the opening moments when blink-182 took the stage felt slightly odd – it took a few seconds before Skiba’s presence sunk in. Opening with “Feeling This”, Skiba immediately was pushed to the forefront, belting out the verses of the song and then harmonizing with Mark Hoppus atop the song’s chorus. As one of my favorite blink songs came to a close with the track’s swirling conclusion, I was fully immersed. Matt Skiba belongs on this stage.

blink-182

blink-182

The band played a 25-song set full of old standards and new songs from this summer’s California. Perhaps it shouldn’t be surprising that not a single track from 2011’s odd, uncomfortable comeback album Neighborhoods was present on the setlist. Instead, blink-182 showed off their return as the fun-loving carefree pop punk band we all fell in love with.

Amid exciting new songs like “Bored to Death”, “San Diego”, “Kings of the Weekend” and “Los Angeles”, blink offered up a variety of delightfully juvenile throwbacks like “Family Reunion”, “Happy Holidays, You Bastard” and “Dysentery Gary”. Is it weird or problematic that we’re all still singing and laughing along to these songs? Who cares.

Per usual, Travis Barker shines behind the kit, getting his usual drum solo portion of the set to show off his skills. The trio feels more in sync on stage than blink has in years. Not to slight Delonge, but it’s clear that Skiba is a better fit for the band in nearly every at this point in their career. We’ll always be able to cherish the Mark, Tom and Travis days, but 2016 is all about moving forward.

It’s delightful to see blink-182 having fun again, especially when it seemed possible that the band might be done for good as little as 18 months ago. Instead, they’ve capped off another summer with a tour for the ages and their best album in years. We’re glad to have you back, guys.

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.

Emery Shines on “The Question” Anniversary Tour

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Something that gets lost in the onslaught of 10th anniversary tours is just how hard it is to create something worth celebrating a decade later. Crafting an album that resonates with an audience and influences its genre in such a way as to warrant continued celebration 10 years after its release is something every band strives for. To do it twice? That’s something only the most gifted of bands can claim.

Emery’s 10th anniversary tour for their debut, The Weak’s End, was just a primer. That trek celebrated a band in its beginnings – The Weak’s End was an emo expedition through odd time signature changes, quirky melodies and moments of explosive fury. For as unbridled of a debut as that album was, their breakthrough sophomore effort, The Question, was a refined piece of post-hardcore excellence.

That both albums are so different yet both hold such a place of distinction in the scene ethos speaks volumes to Emery’s songwriting capabilities and their capacity to evolve.

Supporting on this 10th anniversary tour for The Question is The Red Jumpsuit Apparatus, a worthy contemporary that no doubt was inspired over the years by Emery’s output. Although it’s been a few years since Red Jumpsuit relinquished their stranglehold as rock radio celebrities, they haven’t lost their spark. In particular, vocalist Ronnie Winter sounds stronger than ever before.

The Red Jumpsuit Apparatus

The Red Jumpsuit Apparatus

It’s certainly a treat for everyone in attendance to hear smash singles like “Face Down” and “Your Guardian Angel”, but the band shines when playing their newer material as well. Winter forgoes his usual screaming parts, instead letting his brother Randy carry the guttural load. The payoff is that Winter is free to let his wide vocal range explore new territory as he takes worthwhile liberties with the melody. It’s not hard to imagine The Red Jumpsuit Apparatus embarking on their own 10th anniversary tour next year for their debut, Don’t You Fake It.

For a band as special as Emery to still be active nearly 15 years into their career (the band released You Were Never Alone earlier this year), it’s hard to complain about a commemorative tour of this nature. Even so, it’s difficult not to feel the harsh absence of Devin Shelton, the savory harmony to vocalist Toby Morrell’s sweet melody. The unique mixture of Shelton and Morrell’s vocals is something that placed Emery ahead of their peers through the years.

Emery

Emery

Even so, the rest of the band is in fine form. Drummer Dave Powell brings power to heavier moments on tracks like “Returning the Smile You Have Had from the Start”, while guitarist Matt Carter drives forward “Studying Politics” with poppy riffs and Josh Head’s synthesizers and spastic screams add energy to the set. Part of what makes The Question so unique is the band’s ability to combine so many elements to the mix while remaining exceedingly accessible.

If The Weak’s End was an excuse to thrash about alone in your bedroom, The Question provides release in the form of dancing and group sing-alongs. Everyone in attendance croons in unison to the lyrically poignant “Listening to Freddie Mercury” and jumps about to the fast-paced chorus of “Left with Alibis and Lying Eyes”. It’s a testament to legendary producer Aaron Sprinkle that The Question flows so effortlessly from front to back, even with all of its idiosyncrasies. It’s a testament to Emery that the album plays so well in a live setting all these years later.

In truth, Emery would have been hard pressed to recreate the manic magic of The Weak’s End. The band’s choice to write concise, melodic post-hardcore songs on their follow-up perhaps not only extended their career, but served as the building blocks for so many bands that would follow in their footsteps. If anyone wondered in 2005 if there was room in the screamo scene for a band as pensive and peculiar as South Carolina’s Emery, the answer is in The Question.

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.

Copeland and Eisley to Embark on Fall Tour

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After a few days of teasing, Copeland has revealed an upcoming fall tour with support from Eisley and We Are the City. There are currently VIP packages that will get you into a private acoustic show at your date. One VIP option also includes the Ixora twin companion record on vinyl. You can see all of the options at the band’s website.

Dates below:

Nov. 05 – Nashville, TN – Cannery Ballroom
Nov. 06 – Carrborro, NC – Cat’s Cradle
Nov. 07 – Baltimore, MD – Soundstage
Nov. 08 – Philadelphia, PA – Theatre of Living Arts
Nov. 10 – New York, NY – Gramercy Theatre
Nov. 12 – Boston, MA – The Sinclair
Nov. 13 – Pittsburgh, PA – Altar Bar
Nov. 14 – Pontiac, MI – Crofoot
Nov. 15 – Chicago, IL – The Metro
Nov. 17 – Minneapolis, MN – Varsity Theatre
Nov. 18 – Des Moines, IA – Woolys
Nov. 20 – Billings, MT – Pub Station
Nov. 21 – Missoula, MT – Stage 112
Nov. 22 – Portland, OR – Hawthorne Theatre
Nov. 24 – San Francisco, CA – Great American Music Hall
Nov. 25 – Los Angeles, CA – Troubadour
Nov. 27 – San Diego, CA – The Irenic
Nov. 28 – Pomona, CA – Glass House
Nov. 29 – Tucson, AZ – Club Xs
Dec. 01 – Dallas, TX – Trees
Dec. 02 – Austin, TX – Mohawk
Dec. 03 – Houston, TX – Warehouse Live
Dec. 04 – New Orleans, LA – House of Blues
Dec. 05 – Atlanta, GA – The Loft
Dec. 06 – Orlando, FL – The Social

Posted by Kiel Hauck

Hands Like Houses to Release “Dissonants” This Fall

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Australian rock band Hands Like Houses will be releasing their third full length album, Dissonants, this fall on Rise Records. While official release details are still forthcoming, the band has announced that they will be kicking off their first world tour on October 9 in Australia.

“We are unbelievably excited to announce our very first world tour!” says singer Trenton Woodley. “We’re hitting the roads and skies in support of our brand new album Dissonants this October-December in Australia, the US and UK.”

You can view US tour dates below:

Oct 23 – San Diego, CA – SOMA
Oct 24 – Scottsdale, AZ – Pub Rock
Oct 26 – San Antonio, TX – Korova
Oct 27 – Dallas, TX – Trees
Oct 28 – Houston, TX – Walter’s
Oct 30 – Orlando, FL – Backbooth
Oct 31 – Tampa, FL – Epic Problem
Nov 2 – Atlanta, GA – Hell @ Masquerade
Nov 3 – Greensboro, NC – Greene St.
Nov 4 – Richmond, VA – Canal Club
Nov 5 – New York, NY – Marlin Room @ Webster Hall
Nov 6 – Allentown, PA – Crocodile Rock Cafe
Nov 7 – Worcester, MA – Palladium Upstairs
Nov 8 – Howell, NJ – Gamechanger World
Nov 10 – Cleveland, OH – Beachland
Nov 11 – Pontiac, MI – Crofoot @ Pike Room
Nov 12 – Indianapolis, IN – Emerson Theater
Nov 13 – Chicago, IL – Bottom Lounge
Nov 14 – Milwaukee, WI – The Rave
Nov 15 – St. Louis, MO – Firebird
Nov 17 – Denver, CO – Marquis Theater
Nov 18 – Salt Lake City, UT – In The Venue
Nov 20 – Seattle, WA – El Corazon
Nov 21 – Portland, OR – Analog
Nov 23 – Sacramento, CA – Boardwalk
Nov 24 – San Francisco, CA – Bottom of the Hill
Nov 27 – Pomona, CA – Glass House

Are you excited about the new album? Share your thoughts in the replies!

Posted by Kiel Hauck

Better Than Ever: Finch and Yellowcard Find Renewal on Spring Tour

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As captivating of a notion as it is, rebirth is a tricky endeavor for any band. Not only do you risk alienating a loyal fanbase, but such an undertaking also requires an immense amount of talent to boot. One false move (or one bad album) can bring it all to an end.

It’s fascinating, then, to watch two bands, in Finch and Yellowcard, undergo their own respective renaissances during their current spring tour.

What’s especially peculiar about these revivals is that Finch and Yellowcard share extremely similar career trajectories. Both bands rose to mainstream prominence in the early 2000s thanks in part to massive hit singles. Both bands took extended hiatuses after lukewarmly received follow-ups. Both bands returned to immense fanfare, with Finch being the most recent.

Now, over a decade since their initial breakouts, both bands are touring together and appear to having as much fun as ever. Their stories would almost mirror if it weren’t for their unique individual approaches to resurgence.

Finch

Finch

Finch unexpectedly reunited in 2012 before (even more) unexpectedly recording a new album that released last year. Back to Oblivion is the official follow-up to 2005’s Say Hello to Sunshine, but it feels like the spiritual successor to their 2002 debut What It Is to Burn. While Back to Oblivion lacks the sharp emo punch of the band’s debut, it certainly makes up for it in urgency. It’s clear that Finch want to rekindle the spark that lit a fire for the band all those years ago.

This current incarnation of the band took the stage in Indianapolis with a great deal of energy. It’s fascinating to watch Finch perform classics like “What It Is to Burn” and “Grey Matter” alongside newer tracks like “Anywhere But Here” and “Two Guns to the Temple”. While the songs lack certain similarities on tape, they feel akin on stage. There’s something nostalgic about their performance, but it also feels like it belongs in the here and now.

Watching Nate Barcalow scream and fall to the ground in an emotional heap, you could almost forget that the vocalist is closer to 30 than 20. It’s somewhat wild watching the band capture a youthful vigor in their performance while playing newer and more mature tracks. Finch has grown up, but they haven’t grown old. What better way to come back than to capitalize on what got you there in the first place.

Two albums into their return to the scene, Yellowcard chose to take a different approach with their recent release, Lift a Sail. Instead of cashing in on another collection of pop punk gold, the band moved to a new label in Razor & Tie and released the most commercial and accessible album of their career.

Yellowcard

Yellowcard

In case you were wondering, those aren’t bad words. Lift a Sail finds Yellowcard treading new ground and displaying their talents in the most unexpected of ways. To see Yellowcard perform new tracks like “One Bedroom” or “Crash the Gates” is to watch the band in their prime. Truth be told, the band hasn’t sounded this comfortable in their own skin since they returned from hiatus.

Now, with a catalogue of hits too large to fill any single playlist, fans can watch over a decade’s worth of sonic movements play out in real time. Yellowcard still plays “Lights and Sounds” and “Ocean Avenue” with just as much energy and excitement as they did all those years ago, but they sound even more at home when Ryan Key plays the delicate “California” or when the band leads the crowd in singing the chorus of “Make Me So”. When violinist Sean Mackin opens the set with the uplifting “Convocation”, it’s a call to witness the band’s rebirth.

What makes the night so much fun is that both of the band’s audiences seem sold on their corresponding approaches. Fans delight to see the renewed energy of Finch while onlookers rejoice in song to Yellowcard’s new direction. No matter how you slice it, watching these bands embrace the past while forging ahead is a pleasure to watch.

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.

Copeland Announce New Spring Tour Dates

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Copeland is gearing up for the Writing the Future tour with Paramore this spring, but it looks like the band has some more shows up their sleeve. Yesterday, the band announced a sprinkling of headlining dates in April and May. Copeland reunited last year to release their fifth full length album, Ixora. Check out the new dates below:

Apr 29 – Jacksonville, FL (1904)
May 07 – Long Island, NY (Emporium)
May 15 – Little Rock, AR (Juanita’s)
May 16 – St. Louis, MO (The Ready Room)
May 26 – Seattle, WA (Neumos)
May 28 – Salt Lake City, UT (Urban Lounge)
May 29 – Denver, CO (Summit Theater)
May 30 – Omaha, NE (The Waiting Room)
May 31 – Lawrence, KS (The Granada Theatre)

Tickets for these shows go on sale Friday.

Posted by Kiel Hauck

Paramore Announce “Writing the Future” Tour with Copeland

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This spring, Paramore will be heading out on the “Writing the Future” tour with Copeland to bring their self-titled album cycle to a close. The tour is being promoted as an “intimate evening of music” and pairs Paramore with Copeland, who took them on tour as an opening act back in 2005 after the release of the band’s debut, All We Know is Falling. You see the tour dates and read a message from the band below:

It feels right to bring the Self-Titled era to a close. We’ve had a very personal and hugely triumphant journey with this one. What wouldn’t feel right is saying goodbye to this time in the band’s career and not celebrating it with our fans in some special way. So we’ve decided to do one last little run with it. Smaller shows, beautiful theaters…and we’re not calling it a tour, by the way. Each night will be a little event, or as we said just a few seconds ago, a celebration. As we acknowledge the past few years (and more) of everything we’ve been through together, we’re also looking forward together at all there is to come.

Another way we want to celebrate our journey thus far, is to bring out a band who helped us in our most humble, playing 500 beats faster than we should, terrible hair, beginning. We might’ve never gained any traction on the road had they not allowed us on their tour almost exactly 10 years ago. So if you’re coming to one of these shows make sure to get there early for Copeland.

Lastly, thank you to anyone and everyone who made this album a milestone in Paramore’s career and in each of our lives. We started this journey 3 years ago, desperate for any sort of future at all! Now we are standing taller, more confident, knowing that we are the ones who write our own future. This means you too.

Hayley, Jeremy & Taylor

paramore_copeland_tour

Posted by Kiel Hauck

Relient K Turn to the Bright on “MMHMM” Anniversary Tour

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Staying positive isn’t something that comes easy for many of us. Those that struggle to stay on the up and up know how important it is to have encouraging friends by their side. Not necessarily the obnoxious type of optimist who ignores life’s struggles, but the kind of friend who can see how those trials might bring about something good.

Relient K have long been that friend to the pop punk community – one often rife with negativity and pessimism. Instead of focusing on constant unconstructive cynicism, Relient K have made a career out of looking on the bright side and fighting for hope and joy in a broken world. This year marks a decade since the release of one of the most affirming and hopeful records to come out of this scene – MMHMM.

Of course the band celebrated with an anniversary tour and of course people arrived in droves to see the spectacle and sing along. However, there’s something unique about this particular anniversary tour. Something uniquely Relient K.

For many in attendance during the band’s recent trek, MMHMM serves as a beacon of light; an encouraging reminder that everything is going to be alright. The whole album seethes hope amidst pain and frustration. Just listen to the words on tracks like “More than Useless” or “High of 75”. Even songs that focus on the pain itself, like “I So Hate Consequences” and “Let it all Out”, end by looking toward a better tomorrow. To gather in community to sing these songs aloud again is a reminder to live in that hope.

But the members of Relient K aren’t immune to defeat and frustration. They’ve all spent the last decade battling through pain and disappointment, dealing with break-ups, and wrestling with life’s uncertainties. It’s one thing to sing these songs with confidence in your early 20s, it’s another thing to still live in such confidence after 10 years of taking life’s haymakers on the chin.

When Matt Theissen takes the stage in Indianapolis, he admits to battling several days of the stomach flu and apologizes if his performance lacks spark. The bug appeared to have little effect. In fact, the entire band’s set was full of life. From the opening chords of “The One I’m Waiting For” until the final uplifting notes of “When I Go Down”, the band plays to full tilt and everyone in attendance bounces and sings along to every word.

This tour is especially exciting as it includes the band’s reunion with former drummer Dave Douglas – a fan favorite and the only proper person to man the skins at such an event. Seeing Theissen, Douglas and guitarist Matt Hoopes grace the stage together again is a sight for sore eyes and makes performances of songs like “Be My Escape” and “Who I Am Hates Who I’ve Been” that much more special.

It’s the next to last stop on the tour and it’s obvious that the band is fighting through exhaustion, both from illness and road weariness. You don’t notice it in the performance, but it can be witnessed between songs if you look close enough. In a way, it oddly mirrors the battle-for-joy sentiment that bleeds throughout the entirety of MMHMM. Even a decade worth of life later, the band still deems it worthy to fight this good fight. Many of us in the crowd have used these songs to spur us forward in our own moments of weakness.

Relient K have spent over 15 years as a punk band despite so starkly differing from what many deem to be “punk.” Whether it be the nerdy songs about school dances, the underlying Christian themes in their songs, or the upbeat hints of happiness that run throughout their discography, Relient K certainly did things their own, unique way.

MMHMM will always stand as the band’s defining album. It’s a polished, nearly perfect pop punk album that excels on nearly every level and never fails to uplift. Even the album artwork, featuring a lone blooming flower on a cloudy day, speaks to something deeper. It’s a reminder that there is hope. Ten years later, you get the feeling that the band still believes that sentiment. It’s refreshing, but it’s also a reminder to cling to hope whenever and wherever you find it.

Maybe that’s what makes this anniversary tour so special. It’s not just about a timeless album – it’s about remembering a timeless truth.

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.

Yellowcard to release new album “Lift a Sail” in September

yellowcard

It appears that Yellowcard are set to release their new album Lift a Sail in September. The album will be the band’s first release on Razor & Tie Records. They made the announcement in conjunction with the announcement of their fall tour with Memphis May Fire and Emarosa. Dates for the tour can be found here.

Additionally, a fan-made Indonesia Twitter account appears to have leaked the album artwork and track list, both of which can be seen below:

lift_a_sail

Track List

1. Convocation
2. Transmission Home
3. Crash the Gates
4. Make Me So
5. One Bedroom
6. Fragile and Dear
7. Illuminate
8. Madrid
9. The Deepest Well
10. Lift a Sail
11. MSK
12. My Mountain
13. California

Posted by Kiel Hauck