Keyboardist Chris Freeman talks about the conceptual progression behind Manchester Orchestra’s third album Simple Math, the different natures of the group’s sound, and staying true to what you like.
Interview: Sims
Sims dishes on his new record Bad Time Zoo, the time he quit rapping and was forced to revaluate music, the isolating aspects of technology, turning the mirror on your own hypocrisies, and always being plugged into the here and now.
Review: Silverstein – Rescue
Music fans are usually faced with quite the dilemma when they are looking forward to a new record, especially if it’s coming from a band they’re particularly fond of. Do you want them to evolve – perhaps taking a leap to something you might not enjoy as much – or do you want them to stay…consistent? For the most part, the consensus seems to be that bands need to evolve to stay relevant. Grow with their audience, as some might say. Some bands do just fine by staying static, though. Look at New Found Glory: a consistent sound has lead them to become perhaps the greatest pop punk band ever. When they strayed a bit, on Coming Home, fans were generally displeased.
Silverstein is another band that has utilized a tried-and-true formula throughout its career, and Rescue, the band’s fifth studio album and debut for Hopeless Records, sees the Canadians doing more of the same. While the band won many over with its 2005 breakout, Discovering the Waterfront, fans of the band seemed to either grow more loyal or completely become disinterested when Arrivals and Departures and A Shipwreck In The Sand showcased similar sounds. The latter was Silverstein’s last record, a concept album which I considered to be fairly underrated.
Read More “Silverstein – Rescue”Review: Thursday – No Devolución
Honestly, we all should have seen this coming from Thursday. They’ve been dropping hints of a more atmospheric and textured sound in their records over the past five years (A City By The Light Divided, their split EP with Envy, and Common Existence). So anyone who is saying that their new album, No Devolución, is a new beginning or rebirth for the band just haven’t been paying attention. The common Thursday traits are still present: Geoff Rickly’s not-perfect-yet-so-perfect croon, distorted guitars, thick instrumentation, and, of course, Rickly’s realistic and cathartic lyrics. What’s different is that No Devolución isn’t as abrasive as Thursday albums past, rather it’s soaked in luscious, experimental tones and dark melodies.
Read More “Thursday – No Devolución”Interview: Dan Campbell of The Wonder Years
In the last year and a half, The Wonder Years have ridden their early 2010 release The Upsides to levels of attention they had never experienced before. That record helped them jump from the up-and-coming No Sleep Records to indie powerhouse Hopeless Records, exposed the group to new fans and got them credibility all over the globe. After roughly an entire year of touring, the six-piece Philadelphia pop-punkers took a month to record a follow-up full-length in Los Angeles with the legendary Steve Evetts. Announced earlier today, Suburbia I’ve Give You All And Now I’m Nothing will be released June 14 via Hopeless Records. Now we’ve got for you an exclusive interview with frontman Dan “Soupy” Campbell, where Soupy and I discuss the band’s current state, a big-picture look into the new record, the first song we’re exclusively streaming, and the band’s mindset going into the release of Suburbia. Much thanks to Soupy for taking the time to answer these questions, to Hopeless for letting us bring you this great exclusive, and to The Wonder Years and their entire team for being awesome people to work with.
Read More “Dan Campbell of The Wonder Years”Interview: Spencer Smith of Panic! at the Disco
Drummer Spencer Smith ties up some loose ends about Panic! at the Disco’s third album Vices & Virtues, explains how the recent lineup change has redefined the duo, and recalls the perspective of blowing up at an early age.
Review: Mansions – Dig Up The Dead
Ya know, Christopher Browder isn’t so different from you and me. Based on his previous work, I’d bet that we’ve felt the same as him at point or another in our lives, whether it be the same fears, thoughts, or aspirations. We’re all heavily flawed, and Browder isn’t afraid to share that. And that’s what makes Mansions’ second full length album, Dig Up The Dead, so instantly relatable. Throughout the ten tracks, Browder spins together intricate tales of loneliness, heartbreak, and doubt backed by layers of fuzzy, distorted guitars.
Read More “Mansions – Dig Up The Dead”