Hal Wilkerson//Sluggin’ was released on June 19, and follows the band’s last release, an EP titled Wake Up Kid which was released in June, 2016.
Search Results for "Emo"
Wednesday, June 28, 2017 at 10:40 AM (PST) by Shane Dover
Tuesday, June 27, 2017 at 12:54 PM (PST) by The Torchbearer
Montclair, NJ based emo act Pinegrove have announced some tour dates for this fall with support from Florist & Lomelda.
You can check out all the dates and locations below.
Pinegrove released their latest album Cardinal in 2016 on Run For Cover Records.
Monday, June 26, 2017 at 1:24 PM (PST) by Mike Scott
The Movielife have debuted their first new material in the best part of a decade and a half today. The band’s new track, “Mercy Is Asleep At The Wheel”, is streaming via the band’s new label Rise Records.
The song is the first output since 2003, when the band’s last album, “Forty Hour Train Back To Penn”, was released. It will be on upcoming album “Cities In Search Of A Heart”. You listen to it below.
My first big assignment, AFI (The Blood Album), and I have to admit I’m a little overwhelmed. I started out with the usual research. I mean AFI formed in effing 1991! That’s 26 years of music for those too lazy to do the math. They have fans that live and die with every record, who have followed them since the beginning! Initially, I planned to do my research and try to play myself off as someone deeply versed in AFI’s music and history. But the fans, they’re rabid. They’ll see right through that. So I thought back to when I first heard AFI. And it was pretty far back; that Ice Cream Truck video (“Third Season”). I remember at the time thinking about buying their records, it was just the type of music I dug. Right there with NOFX and Bad Religion. Cali punk with quite a bit of Misfits thrown into the mix, most obviously in Davey Havok’s singing style.
Somehow I never bought that record and never became one of those rabid fans. I tried to catch up. Somewhere around 2000 I downloaded Black Sails in the Sunset and The Art of Drowning. They just didn’t stick. Now I’m a sucker for a pop song, and given that I’d always wanted to get into AFI, Sing the Sorrow definitely made it into my rotation and from then on, I followed them. I listened to their records. I marveled at Davey Havok’s fashion sense and commitment to his aesthetic. He definitely carried the torch with Marilyn Manson to pass on to Chris Motionless. I always respected that. And you can’t deny the hits: “Girl’s Not Grey,” and “Silver and Cold.” I love those tunes. “Miss Murder”? I don’t turn it off when it comes on the radio. The first time I caught them live was at Lollapalooza in 2010, and they brought it. I have to admit I’ve always rooted for them. Some of those rabid fans might have given up, called them sellouts for moving away from So-Cal punk to a more 80s new wave goth sound, but whenever a punk band breaks it big, it resonates with me and I say, “Yeah. That’s right. This is good stuff and people should latch onto it.”
Sorry, this prelude is getting long-winded. You might think I’m stalling. I’m not. It’s just that this is AFI! It’s fucking important to a lot of people. I can’t move on without mentioning Burials. When I heard “17 Crimes,” I immediately bought the album. The one thing you have to say is that AFI has evolved, but they have settled into their skins. If you held on for the ride, you have to be stoked as they are churning out some consistently great records.
AFI (The Blood Album) is no exception. If you are one of those rabid fans, I’m preaching to the choir, you’ve already bought the album. Hopefully on vinyl, of which they released four color variants: one for each blood type (A, B, AB, and O). Ok. Now for the rest of you. If you bailed on AFI because they became the standard-bearer for 80s goth synth-pop, you should probably take a pass on this album as this genre has become the band’s adopted sweetspot, and the sound resonates through about 75% of The Blood Album. Jade Puget manned the boards for this record and he does an amazing job. I’m guessing that he took some things away from working with Gil Norton (producer of Burials) because he has the 80s postpunk sound nailed down. Now don’t get me wrong. AFI can still rock, and for the most part they are a punk band as evidenced by track 9; but it seems these days that they’re more comfortable channeling Bauhaus and Joy Division with haunting synthesizers and disembodied vocals. After many listenings, I have found that each side of this record has a very distinct feel. On Side A (songs 1-7), AFI engages their darker, more somber arrangements, while Side B hearkens back to the old days with more rollicking punk jams.
“Dark Snow” opens the record, straddling the line between rock and synth-pop quite admirably and prepares the listener for what’s to come. “Still a Stranger” resonates with me as it bears the hallmark of Jade Puget’s handywork at the boards, the acoustic guitar, an interesting backbone; they abandoned synth-pop on this one for a more straight-up emo vibe. “Aurelia” and “Hidden Knives” continue with the usual AFI, dark imagery and catchy hooks. The sing along chorus of “Get Hurt” is mesmerizing…. “I can’t let you see / I can’t let you see me sleeping.” WHY NOT!?! Because you’re a damn vampire that turns into a bat!? “Above the Bridge” steps in for a Cure-like turn, then we get “So Beneath You” for the requisite AFI atheistic themes.
“Snow Cats,” the first single off the record, begins my side B. On “Dumb Kids” Davey somehow channels Leonard Graves Phillips from The Dickies as vocal inspiration, I’d put this one up with any purely punk song in the AFI oeuvre (Give me a whole record of this AFI!!) “Feed From the Floor” reminds me of everything appealing about the dark side of new wave: Bauhaus, The Cure, Echo and the Bunnymen, amazing homage to that genre; and somehow they’ve lifted the guitar effect from Icicle Works! The album closes strong with the second single, “White Offerings,” and [another fave] “The Wind that Carries Me Away” (trust me, it will get stuck in your head).
The Quick and Dirty: When I sit down to review an album for Dying Scene, I basically force-feed myself the record until I come up with some opinions on the songs and the album itself. I have to say, having AFI (The Blood Album) on heavy rotation for a couple of weeks has been an absolute joy. At the very least it’s an extremely listenable record: great songs from front to back. It leans heavily toward the 80s Goth/postpunk sound for the most part, but there are some nuggets that hearken back to AFI’s punk rock roots. Another concept that keeps popping up in my mind as I listen to AFI (The Blood Album): that I really want to see these songs live. It’s not often that you go see a band that’s been around 26 years and you think “play the new stuff.”
Wednesday, June 21, 2017 at 10:30 AM (PST) by Shane Dover
“Super Natural” is taken from the band’s recently announced upcoming album release, Good Nature. The album is set to be released on August 25 via Run For Cover Records. You can find the album art above, and the tracklist below the video.
Monday, June 19, 2017 at 10:22 PM (PST) by liathdavis
Westfield indie-punks Dead Leaves are set to release their brand new album “Vultures” on August 25 via Take This To Heart Records. Check out “Bloodshot”, the album’s first single, below along with the band’s upcoming US tour dates.
“Vultures” is the band’s first release since 2015’s self-titled EP.
Wednesday, June 14, 2017 at 10:11 AM (PST) by Shane Dover
Wind & Words EP was released on June 9 and follows their 2016 album Impermanence. The EP has been recorded, engineered, and produced by Chris Teti of The World Is A Beautiful Place And I Am No Longer Afraid To Die.
Wednesday, June 7, 2017 at 10:32 AM (PST) by Shane Dover
The track is taken from the band’s upcoming EP of the same name, Wind & Words EP. The EP is set to be released on June 9 and follows their 2016 album Impermanence. The EP has been recorded, engineered, and produced by Chris Teti of The World Is A Beautiful Place And I Am No Longer Afraid To Die.
Monday, June 5, 2017 at 4:09 PM (PST) by Mike Scott
Hawthorne Heights have released a new single, “Push Me Away“. The track is taken from an as-yet-untitled full length. The album will be the first LP since 2013’s “Zero” and will be the band’s sixth studio album. The band’s last release was 2015’s “Hurt” EP.
You can watch the video for “Push Me Away” below.
Blackpool, UK’s Boston Manor has debuted a video for their song ‘Cu’. The song is from the band’s debut album, ‘Be Nothing’, which is out now on Pure Noise Records. The video was filmed on their recent US tour.
You can watch the video below.
Wednesday, May 31, 2017 at 9:57 AM (PST) by Shane Dover
Tuesday, May 30, 2017 at 1:15 PM (PST) by The Torchbearer
Glasgow emo act The Sinking Feeling have released a music video for their song “Standard.”
You can check it out below.
“Standard” comes from the bands’ upcoming EP One, which is set to be released on June 24th via Gold Mold Records.
Wednesday, May 24, 2017 at 10:19 AM (PST) by Shane Dover
Connecticut emo/rock act The World is a Beautiful Place & I Am No Longer Afraid To Die are streaming a cover of Blink-182‘s track “We Built This Pool.” You can listen to it below.
The song follows the band’s consistent jokes surrounding the track and the lyrics on social media, and originally comes from Blink-182’s latest album California.
Tuesday, May 23, 2017 at 6:08 PM (PST) by Operation Rescue
Chicago, Illinois emo-rockers American Football have released a video for their song, “My Instincts Are The Enemy.”
The track comes from their self-titled 2016 release. The video was shot in Japan, featuring Japanese fans of the band. Check out the video here.
Wednesday, May 17, 2017 at 5:26 PM (PST) by jimmygord
I got my daughter’s report card last week. It listed out all of these qualities, “Attention to Detail” “Drawing inside the lines”; and all down the line, the teacher checked “Meets Expectations.” The only category that got “Exceeds Expectations” was “Sits Quietly in Class.” A chip off the old block. It got me thinking. “Meets Expectations” is good. There’s nothing wrong with it, it’s normal. Now let’s consider this theory in the context of Sorority Noise’s third full length, You’re not as ___ as you think. After having “Forgettable” on heavy rotation, I have certain expectations. As far as sound I’d say SN is 3 parts Say Anything, 1 part each of Conor Oberst, The Promise Ring, and Brand New; throw the whole thing in a Chicago Meat Grinder and enjoy. So what were my expectations for You’re Not…? I was expecting the band to clean up the low-fi aesthetic for something a little more polished, the usual for a maturing band. I also figured SN would move away from the relationship/cigarette/stale beer-soaked angst into some more introspective subject matter. I got all of that, but I got more, a lot more.
Sorority Noise hails from Hartford Connecticut. After listening to their earlier work, I would have sworn they were from Chicago. It just feels like the recording process took place in a run-down apartment in the dead of winter with stale beer and cigarettes permeating the air. The opening track of You’re not, “No Halo”, does a hell of a job clearing the air. Gone are the Say Anything-esque drunken hooligan chants. The smashing guitars replaced by piercingly-clean notes accentuated by harmonics. When frontman Cameron Boucher hits the chorus, “So I didn’t show up to your funeral, I showed up to your house…” the guitars come crashing in reminiscent of that stagnant apartment in their not so distant past. The lyrics most definitely have matured as the band tackles existentialism, loss, religion, and depression. On the second track, “A Portrait Of” we get it all thrown into one. At this point in the record, the tempo shifts, the dynamics, the choruses bring reminders of Brand New and/or Taking back Sunday, the reason for this? Mike Sapone who worked the boards for both of those bands is at the controls on You’re not.
The life and death theme continues in “First Letter from St. Sean” where Boucher wrestles with the loss of a close friend. “A better Sun” rises next to drive away the darkness… or not. Did I mention introspection? “And it’s hard. So hard. And breathing, it just makes it worse. And it’s bad. So bad. That it hurts.” If you hadn’t noticed, Boucher is in some pain on this record and he lets it all bleed out. “Disappeared” touches again on the loss of his friend Sean, and the pain of looking in the mirror and contemplating your own existence. The drunken hooligan chants make a not-so-triumphant return, this time serving more like angry voices conflicting in his head “I let my hair down today and I took a shower for the first time in what felt like weeks.” The themes of loss and its effect on our lives and relationships continues through the record. The music, like raw emotions, gets stripped down to the bone. By the end we are left with more questions than answers. When you experience loss and the depression that follows; the only solace to find is in giving up on both the answers and the questions and just living.
My conclusion… some records don’t meet or exceed expectations, so I crossed those choices out, wrote “defies expectations” and put a check next to it.