Swim Deep Shimmer, Letting the Water Soak Up the Euphoria

Maybe the 90s really are coming back. Proof of this was documented in the Monday night set of Birmingham bums, Swim Deep. Opening for the fellow Brits and honorary American heartthrobs, The 1975, the five-piece channeled the paleness and opiate-driven dream pop of the days when the Gallagher brothers ruled the indie scene.

Lead singer and tambourine swinger, "Ozzy" Williams, might have been a less boorish Oasis frontman, outfitted in a gray, long sleeve tee crisply tucked into a pair of dad jeans. A hoop dangled from his left earlobe, which swayed to the raucous shoegazing of the set. To his left, was bassist Cavan McCarthy, who also took the form of another 90s great: Billy Corgan, if Corgan decided it was again okay to wear a red silk shirt with velvet pants.

Even without their keyboardist, Swim Deep was still confident, making Ohio's capital their own little British dive bar for the night. Each of their songs was simply a cheaper alternative to LSD, making the audience spin with wailing guitars and tempestuous shrieks from Williams' microphone. Their shadows danced on the walls of the venue, sending the room into a euphoric experience suitable enough for an Irvine Welsh novel.

Set standouts, "She Changes the Weather" (from 2013's Where the Heaven Are We) and "Forever Spaceman", attracted young girls in winged eyeliner and striped crop tops to squeal, some holding signs in adoration of the band's cheekiness. The latter, which Williams introduced as a song about "wanting to do something then actually doing it", was accompanied by an appearance from his Lake Placid Blue Fender. The band abandoned all virtuosity at this point, letting their instruments duel over the loudspeakers.

After they swept themselves off the stage, some fans shoved their way out of the crowd, obviously impressed enough to go home. Swim Deep held themselves with both a tripping and dripping confidence and an air of deserving to be there, and it's quite safe to say that they do.


//Angelia//

MIXTAPE MONDAY: Steampunk and Just Straight Punk

steampunk & just straight punk
for all your october fancies //

+listen

the haunting by set it off // honey, this mirror isn't big enough for the two of us by my chemical romance // lullaby by the cure // the ballad of mona lisa by panic! at the disco // control by halsey // sarcasm by get scared // mama by my chemical romance // ava adore by the smashing pumpkins // eyelids by pvris

//Angelia//

REVIEW: Captain Kidd//Good Life EP - The Kidds Are Alright

4/5 Stars

Wave to watch: Smoke & Mirrors

Genre: Indie Pop
Goes great with: Foster the People, Passion Pit, Phoenix

With not only a packed touring schedule, but also an ever-growing fanbase, Captain Kidd have managed to compose a quartet of psychedelic, yet danceable, jams on the independently-released EP, Good Life. After an appearance at this year's Firefly Music Festival, which draws the likes of indie heavyweights (Cage the Elephant, The Killers) and Sir Paul McCartney himself, the Columbus by way of Cleveland five-piece are kicking their 20-something gears into motion by hypnotizing the college town that has been so integral in paving their past - and more current - successes.

After 2014's eponymous EP made waves around the Midwest, the band teased at new material with "Good Life", a single released earlier this year. It's the summer song that somehow ends up getting played at all times of the year, even when the neon lights have all burnt out. Phoenix-esque offbeat synths hum under carefree lyrics ("It's the good life/And it doesn't mean anything") and tapping drums.

These new songs are a little less eclectic of a bunch, but are even more raw and refined. The entrancing, tripping "Summer Dress" is a touch more seductive while purring, "nice to meet you/what's your sign".

The band via Facebook

"Dreamachine" is the softest, floating in the gossamer spaces around it. The breeziness is reminiscent of MGMT's more tender side, providing a backdrop for every 2 a.m. fast drive past busy sidewalks.

With its New York funk rock feel, "Smoke & Mirrors" carries the EP upon its concise, but mighty, shoulders. Behind more buzzing synths, trendy guitars impel the party to go on and the floor to bounce under the weight of dripping college kids.

The band may be saying, "let's take it slow", but with Good Life, they're cruising coolly down the Ohio freeways once again.

Good Life is now available for listen on Spotify, YouTube & SoundCloud

//Angelia//

REVIEW: Halsey//Badlands - God Damn Right, You Should Be Scared of Her

3.5/5 Stars

Waves to Watch: Castle, New Americana

Genre: Dreamy pop

Goes great with: Lorde, The xx, Marina and the Diamonds 

Right now, the likes of Lorde, Lana Del Rey and Melanie Martinez are ushering in a new model for the female pop star. And although Ashley Frangipane, aka Halsey, is just weeks shy of her 21st birthday, she has catapulted herself - with lyrical and vocal prowess in tow - to head lioness on her LP debut, Badlands (Capitol Records). Through dreamy ambiances and heavy beats, Badlands is a movie, an event, a feeling.

Halsey has a soothing voice, possessed by an uneven vibrato, most times haunting, like on the Lana-like "Drive". However, Badlands is less of a fatalist anthem than any of Del Rey's past releases (Ultraviolence, Born To Die..."), even when she's likening her and her lover to immortals running through the streets ("Young God").

Songs like "Hold Me Down" - laden with raging drums and noisy pops - and standout "Castle" cut the reins on her sweeping sweetness. On the latter, Halsey rambunctiously declares "Sick of all these people talking / Sick of all this noise" over industrial tripping chimes, which can be seen as either a middle finger to the suits who run her major label or a standalone feminist anthem.

Frangipane is already outspoken, not requiring any time to wade into her commentary. The album's finale, a retake on one of her EP's (Room 93) tracks, "Ghost", is mirrored by a video painting a glowing affair between two girls. It's not a trendy, oversexualized lesbian shot of scenes, but an opportunity for deeper interpretation, the singer has stated. In "Ghost"'s verses, Halsey is rambling, her syncopated singing on the verge of rapping. "Coming Down" is another nod to Room 93, this time with a desolate, religious cadence reflective of her first single and deluxe edition feature, "Hurricane".

Halsey has put such a strong compilation of lyrics about lost loves and martyrdom that it is nearly impossible to fathom that she is only a few years removed from her teenage dream years. She's edgy and challenging of the purity pushed onto young girls in "Haunting" ('Cause I came here so that you'd come for me). She's sexy without being a hypersexual doll, spinning on stage with glittering lights washing her out.

Fans of Halsey have embraced the young candy-colored singer with a certain kind of familiarity and sisterhood. They have made their own art forms out of what is perhaps the most sorrowful but elegant line on the album: "You were red / You liked me because I was blue / You touched me and I suddenly was a lilac sky / And you decided that purple just wasn't for you".

Badlands is colorful, yes, but it is also black and white. "Roman Holiday" flows almost as if Gregory Peck and Audrey Hepburn had fallen in love to a soundtrack splashed with poppier, sunnier synths. "Control" is a steampunk, grittier gray, while being a firm example of her adoption of poetic iambic pentameter and impeccable phrasing. A grandfather clock chimes behind her suppleness as she laments "I couldn't stand the person inside me / I turned all the mirrors around".

"New Americana" is gold, a  glittering Roaring Twenties ambiance saturated with 2015 references ("High on legal marijuana / Raised on Biggie and Nirvana"). The song is for 20-somethings with no seeming places to go, but Halsey has some - if not every - place to go.

On Badlands, there's room for something bigger. Within a few months, Halsey has the capacity to be the new queen, the new challenger of old ideas. Halsey is about to explode, coloring the landscape as a lilac sky.

Badlands is available now on Capitol Records. A 16-song deluxe version is also available.

//Angelia//

MIXTAPE MONDAY: Coloring Books

coloring books
songs with colors in the title //

+listen

that green gentleman by panic! at the disco // back to black by amy winehouse // red light indicates doors are secure by arctic monkeys // pink moon by nick drake // my blue heaven by taking back sunday // nights in white satin by the moody blues // crimson and clover by joan jett & the blackhearts // the (shipped) gold standard by fall out boy // goodbye yellow brick road by elton john

//Angelia//

MIXTAPE MONDAY: The Best of Warped '15

the best of warped '15
because warped isn't just pop punk and circle pits any more

+listen

white noise by pvris // sunday funday by new beat fund // the divine zero by pierce the veil // free love by mod sun // elliot by false puppet // pretense by knuckle puck // k.e.n.n.e.t.h.s by the kenneths // but you won't love a ghost by emarosa // gum by moose blood // track 5 by '68

//Angelia//

MIXTAPE MONDAY: 90's Kids Only

90's kids only
the decade's legendary alt hits


+listen


iris by the goo goo dolls //  sappy by nirvana // losing my religion by r.e.m. // girls & boys by blur // creep by radiohead // what's my age again? by blink-182 // 1979 by the smashing pumpkins // buddy holly by weezer // californication by red hot chili peppers // champagne supernova by oasis // when i come around by green day

//Angelia//

The Blues Were Nowhere to Be Found: Against Me! Deliver with a Message

Florida's punk rock outfit, Against Me!, has had anything but a regular story, particularly marked by singer guitarist Laura Jane Grace's transition to a female in 2012. With this came shifty eyes throughout the industry, along with doubts that the band could continue their ascent without faltering. Since then, the fourpiece has released Transgender Dysphoria Blues (Total Treble), a story of a transgender prostitute - obviously rooted in Grace's own emotions - and embarked on tours to support. On Sunday, Against Me!, with pals frnkiero andthe cellabration and Annie Girl and the Flight, rocked the always sweaty House of Blues in Cleveland to a crowd who were looking for maybe a little more than just a good show.

After about an hour long wait, San Francisco psychedelics Annie Girl and the Flight took the stage. Through a set of strongly placed weak moans by lead singer, "Annie Girl", and ethereal whines that entranced the audience as they zoomed around the room, the fourpiece seemed to be a band of misfits - with their guitarist being considerably older than the others - thrown into some sort of drug-induced dream (in nearly the best way possible of course). "Swans" and their finale, "Bodies", wreaked havoc on the sound system as the crowd swayed and bobbed, still probably anticipating the two following bands instead of paying complete attention to the current act. It seemed that Annie Girl and her rag tag flight might be more suitable for background noise than music that can command any room. 

As Annie Girl and the Flight left the stage, the room began to buzz and sweat for who came next, as it seemed that some fans were only there to see Frank Iero (ex-My Chemical Romance), a tattooed emo icon of course. The band's crew was quick with their set-up and the Cellabration took the stage to Iero's voice whining about evil and mundaneness (along with screams from isolated groups of adolescent girls). As the frontman walked onstage with his hood up and coffee in hand, the guitars wailed into their 2014 debut Stomachaches' (Staples Records) opener, "All I Want Nothing". It is evident that he spent most of his music career not as a flashy singer of a prolific, theatrical band like his ex-bandmate Gerard Way, but as the heart, as his passionate grit never faltered throughout his entire set. The front of house booth was constantly adjusting sound levels to produce the most flawless of the three bands' delivery. 

Fan favorites, "Weighted" and "Joyriding" - the latter lacking the blood that doused its accompanying video - led the crowd to rush to the stage and jump as if they were watching the headliner. Iero said few words, and let the sobs and roaring of his and guitarist Evan Nestor's instruments do the talking, namely in his ode and true story about his wife ("She's the Prettiest Girl at the Party, and She Can Prove It with a Solid Hook"). And thus, as the last of the drum hits of "Joyriding" rang out to the back of the club, the aforementioned groups of girls left the pit, as they nudged each other and grinned, briskly remembering that they had just seen THE Frank Iero.

Now, the crowd bustled as Against Me! prepared to take the stage. Some begged the question of which songs off of their six studio albums they would bring out tonight. Others discussed Grace's prized Rickenbacker six-string, which now sat pristine on its stand. But as soon as the four took the stage to "Unconditional Love", everyone now did the same: scream. Dressed in all black, Against Me! played as if nothing had ever changed the band, but at this point, it is fair to say that nothing ever did. Even the boys in the collared shirts danced next to the girls in spiked denim vests and pink mohawks as they yelled back "They just see a faggot" - a word that, if yelled in any other setting, would be spit upon - as Grace strummed through "Transgender Dysphoria Blues". 

The song has become an anthem for transgender youth, a handful of who stood in the crowd, and Laura Jane Grace a transgender icon. To be one of the only members of any rock band to confront gender dysphoria and transition, especially in a scene that was once homophobic, is still a difficult thing to do. Grace is a commanding beauty, even as her long, reddish hair covered her twinkling eyes for most of the set. During a break, she triumphantly reminded the crowd of the Supreme Court decision to allow same-sex marriages nationwide that had been announced just two days before. The crowd cheered, naturally. 

The strongest of songs, which made the crowd continue their night-long moshing and the security to bob their heads, was "Thrash Unreal", the poppier song of 2006's New Wave. Even through her veil of hair, Grace smiled the whole time, exchanging silent banter with James Bowman, who has been the guitarist since 2001, and newcomer Inge Johansson. She is happy and shows it. 

"Thrash Unreal" was quickly followed with two more crowd favorites, "Black Me Out" and "True Trans Rebel Soul", before the fourpiece exits the stage to breathe in the moment as the crowd chanted "One more song! One more song!". Grace suits up with an acoustic to cover The Replacements' "Androgynous", which she had recently performed as part of Miley Cyrus's Hippie Foundation Backyard Sessions along with Joan Jett. And as Against Me! all hovered around Atom Willard's drum kit for the final few notes, gratitude for the music and the message rang even louder than any amp could ever supply. 

Laura Jane Grace and the rest of Against Me! are still one of punk's most punctuated statements, and as the sweaty pit thinned out and the last drinks were served, the inescapable feeling that comes with the most earnest music still was in everyone's bones.

//Angelia//

If you are struggling with your gender identity or aren't sure if you are transgender or not, feel free to reach out to the Transgender National Hotline: (877)-565-8860

MIXTAPE MONDAY: A Decade Old

a decade old 
songs from albums that turned 10 this year // 

+listen

lion's teeth by the mountain goats (the sunset tree) // cells by teenage fanclub (man-made) // perfect situation by weezer (make believe) // sadie by alkaline trio (crimson) // white shadows by coldplay (x&y) // dark blue by jack's mannequin (everything in transit) // instinct blues by the white stripes (get behind me satan) // better open the door by motion city soundtrack (commit this to memory) // joy by against me! (searching for a former clarity) // i never came by queens of the stone age (lullabies to paralyze) // xo by fall out boy (from under the cork tree)

(albums in parentheses) 

//Angelia//

MIXTPE MONDAY: stay stay

stay stay

songs you should definitely make out with someone to

+listen

robbers by the 1975 // we found each other in the dark by city & colour // eclipse by twin shadow // she's got you high by mumm ra // northern lights by bowerbirds // fallingforyou by the 1975 // northern wind by city & colour // summertime by the zombies // undercover martyn by two door cinema club // sweater weather by the neighborhood // is there somewhere by halsey

xx. Sheridan

REVIEW: twenty one pilots//Blurryface - Only Two Faces are Shown, Many are Delivered

3.5/5 Stars

Waves to Watch: Stressed Out, The Judge

Genre: Schizoid Pop
Goes Great With: Echosmith, Smallpools, Vinyl Theatre


The most fascinating of albums are the ones with a concept, a story to tell in the static cracks between songs. Often a character is introduced and given a narrrative to deliver from track to track, as if the album is simply a novel meant to be made of paper. Oddly enough, twenty one pilots have created a concept within their second major label release, Blurryface (Fueled By Ramen), but there is no evident story to be found. Singer and multi-instrumentalist Tyler Joseph thinks his, and drummer Josh Dun's, latest creation not to be a complete story, but a trip to another dimension. With the introduction of "Blurryface", he is everything Joseph is insecure about.

Columbus, Ohio's own hometown heroes are back again with their odd, nearly genre-less tunes at the helm. After 2013's hit, Vessel, and a few stints of worldwide touring, the duo found themselves contriving something within a farther, darker reach. With the rookie single, "Fairly Local", lacking any visible trace of piano, many were hesitant to accept the new direction. To much relief, the warped track was just a dark introduction of Blurryface, and the sole, bouncy love song, "Tear in My Heart" soon followed to ease the worries.

Joseph's other best friend, the ukulele, still finds it niche on the sing-a-long "The Judge", where dark lyrics like "I know my soul's freezing/Hell's high for good reason" hide behind the buoyant strumming. "We Don't Believe What's On TV" and "Message Man" are both reminiscent of Vessel, as Joseph delivers another on the former, "I don't care what's in your hair/ I just wanna know what's on your mind".

Yet, twenty one pilots are not in a stagnant tug of war with their past sounds. Joseph has found a new sense of captivation in reggae, where "Lane Boy" and Ride" seem to live. The latter is in distress ("I've been thinking too much"), with an all too familiar theme of "help me" as seen on the already forgotten "Polarize". Along with "Doubt", both talk of fear, the former striving for being a "better brother, better son."

Still, Joseph and Dun know how to recall past themes and lines from their roots, bringing back the famed "Street Poetry's" "Death inspires me like a dog inspires a rabbit" on the haywire intro, "Heavydirtysoul". And out of pure respect for the fans' fascination, 2012's "Goner" has been given a new, pounding face, all the while reassuring that Joseph has beat - not eliminated -  the insecurities at last ("I've got two faces, Blurry's the one I'm not").

"Hometown", an apparent ode to the clique in the Ohio capital, begins to wind the album down, with "Not Today" sadly in its shadow, desolately wasting its potential of being a standout.

"Stressed Out" is the album's breadwinner, a relatable tune ("I was told when I was older all my fears would shrink/But now I'm insecure and I care what people think") and a realization that making music is the duo's career now. Here, Blurryface is almost human, embodied by the black paint on Joseph's hands and neck, droning, "My name's Blurryface, and I care what you think."

twenty one pilots do care what you think, which is something to keep in mind as they embark on a U.S. fall tour, including an arena gig in their beloved hometown. With exposed theatrics and backflips to spare, the duo is sure to pull out even more stunts as the crowds only get bigger. Blurryface, adds to the already impressive discography, meaning that twenty one pilots is only ready for more disjointed, twitching, and kinetic fun.

Blurryface is available everywhere now on Fueled By Ramen

//Angelia//

MIXTAPE MONDAY: Summer is the Blood

summer is the blood
songs for a long drive down a hazy highway //

+listen

my hair by the maine // good life by captain kidd // pretty green by white denim // mr. blue sky by electric light orchestra // next girl by the black keys // happy people by peace // ride by twenty one pilots // go your own way by fleetwood mac // wait, wait, wait by northern faces // neon tiger by the killers // we move like the ocean by bad suns

//Angelia//

REVIEW: Brandon Flowers//The Desired Effect - Can't Deny This Sound

4/5 Stars

Waves to Watch: Can't Deny My Love

Genre: Synthpop

Goes great with: Depeche Mode, Future Islands, Pet Shop Boys

With his signature megawatt smile in tow, Brandon Flowers conjures up tantalizing sounds complete with huge 80's drums and pulsing synth wails on his sophomore solo effort, The Desired Effect (Island Records). For now, he's leaving his brainchild, The Killers, behind in the near dustiness of the Las Vegas desert to create an anthemic collection of odes to the most recent decade of decadence. Yet, Flowers doesn't cloak his voice - or the themes - he frequently tampers with while writing for the Grammy-nominated group. The Desired Effect is a keen confabulation of morality and loyalty, shining even in a time when 80's sounds have become a trend.

Flowers has a knack for finding words within the music, offering even more sentiments within the catchy hooks and humming female backing vocals. The unembellished lyrics and black and white video of "Still Want You", complete with talk of catastrophe and a deteriorating world, still pack a punch with Flowers in a white suit and fluffed up hair.

Perhaps the most in touch with the synthpop blues is the lead single, "Can't Deny My Love", with its dancey chorus that is still suitable for a 3 AM walk down a neon-lit street after a night spent drinking. Somehow, it sounds like it could be straight off either a Depeche Mode release or a stripped down version of Heart's Dreamboat Annie. Establishing credibility as a modern rejuvenation of the Pet Shop Boys is the group's own Neil Tennant, who is featured on the desperate "I Can Change".

And of course, Flowers can. His 2010 solo release, Flamingo, was a closer stroke to The Killers, relying on friendly and sauntering guitars. On The Desired Effect, the guitars have been left on the outskirts of Vegas, while Flowers enters and spins around in the Sin City to a grand horn section in the opener, "Dreams Come True", while reminding the gamblers, "Spend your life, bracing for the crash land/You forget, baby it's a dreamland".

But the album is not lacking in any slower and sweeter songs, championed by the closer, "The Way It's Always Been". Often a closing song, no matter how sentimental, can come across as flashy or gimmicky, but Flowers is sincere. "Never Get You Right" is an oddly sweet song, in which "Everybody talks from the wrong side of the mask" - the sharpest line on the album - is offered. "Between You and Me" is a slower admittance, where Flowers ensures that "there's a power in letting go".

Without many 80's cameos, Tennant and pianist Bruce Hornsby aside, Flowers still pays tribute to a host of the decade's greats. On "Diggin' Up the Heart", a synthed-up Born To Run Springsteen track with the tale of Tony, is all too characteristic of the decade's great storytellers. "Untangled Love" is strangely reminiscent of Pat Benatar's reign, and "Lonely Town" is a dewy dancefloor-ready jam with eerie lyrics and a vibe to rival The Police's "Every Breath You Take".

Right now, Brandon Flowers is on the edge of everything. He's slickly toeing the line between solo artist and frontman, while warping himself through eras of desire and charm.This album is not just another leisurely adventure into uncharted territory; this is a stake of claim as an established - and thriving - performer. Flowers, yes, is ambitious and groovy, and in this day and age, both are still a great thing to be.

The Desired Effect will be released worldwide on May 19th through Island Records

//Angelia//

MIXTAPE MONDAY: 80's ladies (and dudes)

80's ladies (and dudes)

the best of the 1980's

+listen

i wanna dance with somebody by whitney houston // come on eileen by dexy's midnight runners // don't you (forget about me) by simple minds // girls just want to have fun by cyndi lauper // heaven is a place on earth by belinda carlisle // africa by toto // 9 to 5 by dolly parton //  like a prayer by madonna // physical by olivia newton john // walk like an egyptian by the bangles //  don't you want me by the human league 

xx. Sheridan

We Moved Like The Ocean

May 5, 2015 // A&R Music Bar in Columbus, Ohio

In the cramped pit of the LC Pavilion in the heart of the Arena District as I anxiously awaited The 1975 was the first time I experienced Bad Suns. And to be completely honest, I was underwhelmed. Their set was subpar compared to the first opener and they seemed rushed and showy. Later that summer, the band released their debut album Language & Perspective (Vagrant Records) which impressed far beyond my initial impressions. Exactly one year later, the Southern California quartet returned to the Arch City to headline their own show and I'm honored to say they killed it.

The night began with local group Indigo Wild, who charmed the crowd with their indie rock sound and meaningful lyrics that made me feel nostalgic about things I have never experienced. The real gem of their set was the power anthem "Rowboats" which highlights this group's strengths, their dynamic harmonies, smooth rhythm, and strong percussion. Indigo Wild is genuine through and through with songs that are full of spirit and unique to the core. Their energy was infectious and a solid way to begin the evening.

Second to perform were Californian alternative rockers Kiev. Gracing the stage with a set from their latest Falling Bough Wisdom Teeth, their music was hypnotizing and intricate with an obvious attention to detail. Kiev also performed their song "Be Gone Dull Cage", written for the fifth season premiere of The Walking Dead, a song of grit and nostalgia. This five piece, led by singer and guitarist Robert Brinkerhoff, organically combines psychedelic funk, indie, and jazz styles with effortless ease.

As the main attraction, Bad Suns, finally rolled out to the stage, the crowd was ready for them. These Los Angles indie rockers took the stage with power, eager to perform. Lead singer Christo Bowman, along with bandmates Miles Morris on drums, Ray Libby on lead guitar, and Gavin Bennet on bass, took the audience on a whirlwind trip through their debut album. Language & Perspective is the epitome of an indie rock love child, with clear inspiration from the hits of the 80's and the early 00's alternative scene, a hint of dance-punk, and hits it's highs in it's catchy lyrics and funky smooth melodies. 

Opening with the ever angsty and upbeat "Transpose", Bad Suns transitioned swiftly through their set to the rhythmic and "Dancing on Quicksand" and the anthemic and groovy "Pretend". Bad Suns are performers at heart and truly know how to entertain. Bowman, an alternative age heartthrob, indulging the crowd with enviable falsettos and roaring guitar solos. 

This show's high points were in their last three songs, their first single "Cardiac Arrest", "We Move Like The Ocean", and "Salt". With their set drawing to a close, Bad Suns let out all of the stops. Bad Sun's fanbase is small but mighty, their voices near drowning out the sounds of Bowman and his crew. In those last few songs, those in the crowd truly did move like the ocean, jumping and swaying to the sounds of the Los Angeles natives. Their west coast roots ran deep from beginning to end, the guys exuding that endless summer vibe all night long. With such a 360 improvement from our last encounter, I expect nothing but great things in Bad Suns' future. 

xx. Sheridan

MIXTAPE MONDAY: On My Way

on my way
because i only have a few days left of  freshman year and these songs will always remind me of it //

+listen

brother by gerard way // girl almighty by one direction // hurricane by misterwives // if you ever want to be in love by james bay // wildest dreams by taylor swift // run-around by blues traveler // africa by toto // tear in my heart by twenty one pilots // galapagos by the smashing pumpkins // what's up by 4 non blondes // another night on mars by the maine

//Angelia//

MIXTAPE MONDAY: fernweh

fernweh

songs about places I've never seen

+listen

budapest by george ezra // beverly hills by weezer // aberdeen by cage the elephant // i will follow you into the dark by death cab for cutie // perth by bon iver // cologne by clean bandit feat. nikki cislyn & javeon // feather on the clyde by passenger // hello, i'm in deleware by city & colour // holland, 1945 by neutral milk hotel // the city by ed sheeran // harlem by new politics // amsterdam by imagine dragons // take me home, country roads by john denver

xx. Sheridan

MIXTAPE MONDAY: Old Man, Look at My Life

old man, look at my life

some of the songs my father gave to me//

+listen

sympathy for the devil by the rolling stones // the unknown soldier by the doors // a day in the life by the beatles // don't let the sun go down on me by elton john // old man by neil young // california dreamin' by the mamas & the papas // ohio by crosby, stills, nash & young // killer queen by queen // comfortably numb by pink floyd // silver, blue, and gold by bad company // won't get fooled again by the who 

//Angelia//

MIXTAPE MONDAY: indie pop princesses

indie pop princesses

an appreciation mix of these ladies and their killer sweet vocals

+listen

this song's not about you by chlöe howl // hands by alpine // white teeth teens by lorde // you're in love by betty who // best i can do by misterwives // everything is embarrassing by sky ferreira // elastic heart by sia // the mother we share by CHVRCHES // this love (will be your downfall) by ellie goulding // wings by haerts // grandma's hands by mag mac // paper heart by chlöe howl // if i could change your mind by haim // kiss with a fist by florence and the machine // no need for dreaming by misterwives

xx. Sheridan

MIXTAPE MONDAY: Better Than the Original?

better than the original?
my personal favorite covers //

+listen

ain't it fun by tyler carter ft. luke holland // fourfiveseconds by james bay // iris by sleeping with sirens // are you strong enough to be my man? by haim & lorde // can't help falling in love by twenty one pilots // me and bobby mcgee by janis joplin // ain't no sunshine by coeur de pirate // jolene by miley cyrus // hallelujah by jeff buckley // song 2 by my chemical romance // good morning little school girl by jonny lang // don't fear the reaper by pierce the veil // the house of the rising sun by the animals // wicked game by phillip phillips // god only knows by jamie cullum 

//Angelia//

REVIEW: Future Hearts//All Time Low - Their Hearts Are On Their Sleeves

3.5/5 Stars

Waves to Watch: Don't You Go, Tidal Waves

Genre: Pop punk

Goes great with: Blink-182, Yellowcard, State Champs

Inevitably, any pop punk act will begin to deviate to pop and neglect punk, but All Time Low have taken a U-turn back into the punk side of town after their 2012 release, Don't Panic. These four boys from Baltimore had to grow up at some point, so why can't it be now? On their fifth - arguably sixth by some - LP, Future Hearts (Hopeless), All Time Low, comprised of vocalist/guitarist Alex Gaskarth, guitarist Jack Barakat, bassist Zack Merrick, and drummer Rian Dawson, are now the veterans, long past the time of being the newcomers around the likes of Blink and New Found Glory. 

With this new found dominion over their scene, the four-piece pay their respects to those who reigned before them with a hearty blend of eminent pop punk influences, ATL's own clever juvenility, and the recruitment of producer John Feldmann. The harsher-sounding "Kicking & Screaming" is laden with a Blink-ish character, coincidentally hinting that they're not forgetting what (or who) made them who they are. 

The quartet of singles, led by the zombied-out "Something's Gotta Give", were intimations into a new sound, with their mature boyishness still intact. The anthemic "Kids in the Dark" is, in fact, an anthem for their fans, who are such rabid a fanbase that their dedication deserved an equally neon song. "Runaways" is an odd blend of sounds, from claps to swinging bells, capturing the idea of being stuck and taking the chance to leave it all. 

The final of the singles, "Tidal Waves", features an appearance from mentor and Blink co-founder Mark Hoppus (FINALLY), ebbing and flowing like a slowed-down ocean. Joel Madden (ex-Good Charlotte, Madden Brothers) adds a dash of his current project's sound to ATL's pop punk charisma on "Bail Me Out". 

"Don't You Go" is the most pumped-up out of the thirteen, reminding listeners of the dawn of pop punk in the early 2000's. Paired against the folky, acoustic "Missing You", Future Hearts becomes a fusion of sounds, sometimes colorful, sometimes a little bit dowdy. The best indicator of this falls upon "Cinderblock Garden", another mismatched love story that sounds like a handful of the other twelve songs thrown together. Gaskarth's voice, however, shines brightest, saving the track from the grave. Sadly, the bulk of the album does not flex his lyrical prowess as past releases have done. "Satellite" is an understated first song, meant as a short introduction, as well as a look into their past as "just kids". What it does best, perhaps not the intention, is show off Dawson's prowess behind the drum kit on any song he kicks into. 

Oddly enough, "Dancing with a Wolf" and "Odd Scars/Future Hearts" are both evocative of Fall Out Boy's - arguably the biggest band to come out of the scene in the past fifteen years - sound circa 2007. Along with the majority of the songs on Future Hearts, particularly "The Edge of Tonight", these two tracks sound as if they could fit along with Top 40 radio just fine. Perhaps it is time, after all these years, for All Time Low to relish some time in pop radio's limelight.

On a highly anticipated U.S. tour nearly underway, All Time Low will be bringing out old international friends, Tonight Alive, along with promising rookies ISSUES and State Champs. For old fans, there will not be a shortage of classics, and for new fans, there will not be a shortage of bras thrown onstage at Barakat, as he jumps around like sugared-up toddler. Future Hearts is steady at best, but once the songs come to life on bigger stages, anything goes for All Time Low. And that means anything.

Future Hearts will be released worldwide on Hopeless Records on April 7th

//Angelia//

REVIEW: American Candy//The Maine - Miles Away From Where They Began

4/5 Stars

Waves to Watch: Diet Soda Society, Miles Away

Genre: Alternative rock

Goes great with: The Technicolors, The Eeries, Young Rising Sons

Nothing has ever tasted sweeter for The Maine, perhaps because they have given their fifth full-length the title of American Candy (Universal). The band has proved themselves to be one of the most consistent in the scene over their eight year lifetime, while still managing to grow from pop punk undergrounders to desert-dwelling alt-rockers. So there is no surprise that the five piece, consisting of vocalist John O'Callaghan, guitarists Kennedy Brock and Jared Monaco, bassist Garrett Nickelsen, and drummer Pat Kirch, secluded themselves in the SoCal desert to contrive this release.

American Candy could have easily sounded ragged around the edges, instead, capturing the sharp desert ruggedness that O'Callaghan's dusty voice lends so well to. Already, with their lead single "English Girls" - an oddly poignant look back at dirty youth - at hand, it became obvious that we were all in a new era of The Maine. Even with the second single and album's opener, "Miles Away", a new summer soundtrack was underway, as O'Callaghan proclaims, "I felt so alive".

The guys turn to new influences with old sounds, such as the gazing, 90's alt-rock ballad "24 Floors" and "Another Night on Mars", which coincidentally enough is bouncily theatrical akin to Bowie's Ziggy Stardust. "Am I Pretty?" borrows the spirited strumming of now British favorites, The 1975, while the more whimsical "Diet Soda Society" feels faintly reminiscent of a witty comeback delivered by Weezer. The latter's "My mind is on the brink of going supernova" is perhaps the strongest line burrowing in the strongest of the ten tracks.

"(Un)lost" is dreamier and sure to be a crowd anthem on the upcoming American Candy Tour, kicking off Friday in their hometown of Tempe. The title track is much darker than the sweet moniker implies; it is a tune of American indulgence, driven by Kirch's, a humanoid version of The Muppets' Animal, pumping drums.

American Candy is oddly self-obsessed, as it becomes evident, especially on "My Hair", that the five are realizing their aging as both individuals and as a group. Yet, it is hard to worry about them, as they fight for the youth that is still burning inside of them and their instruments. "Same Suit, Different Tie" is simply for themselves, noticing "I feel so fresh, I feel so new". The band has never been completely polished, especially with O'Callaghan's sometimes abtruse words and strange stunts, but The Maine still remains a shiny gem with a dusty undercoat.

Kirch has mentioned that "...for our band, getting away is the best way to make a record". Something clicked for The Maine in Joshua Tree; something kicked into gear that had not before. As the band sets out on a new stretch of their aging career, they will still remain young, dusty, weird, and unlost.

//Angelia//

MIXTAPE MONDAY: mixtape straight out of '94

mixtape straight out of '94

some of the best hits of 1994 (ish)

+listen

when i come around by green day // all apologies (mtv unplugged) by nirvana // buddy holly by weezer // sabotage by beastie boys // loser by beck // interstate love song by stone temple pilots // mr. jones by counting crows // cut your hair by pavement // seether by veruca salt // supernova by liz phair // self esteem by the offspring // connection by elastica // tomorrow by silverchair

xx. Sheridan

REVIEW: Chaos and the Calm//James Bay - This Could Be the One

4.5/5 Stars

Waves to Watch: If You Ever Want To Be In Love, When We Were On Fire

Genre: Indie rock, folk

Goes great with: George Ezra, Ella Henderson, Jake Bugg

In an era where any artist can slap the singer-songwriter label on their chest, James Bay has managed to escape the snare that holds the hoards of "starving" musicians. A slick portrait straight off a 70's folk-rock vinyl release, Bay scrapes at the sound of the aforementioned decade with his 21st century claws. His Chaos and the Calm (Republic) tells his story up until now - as any debut will do - with an honest, yet sentimental smile on its face.

Each of the twelve songs - a blend of new and EP's past - sounds as if it should be predictable, but none are in the slightest. Sure, it is obvious what aim Bay has image-wise, but he plays it all out more shrewdly than his fellow British counterparts. Bay has a knack for one-liners that you can't believe no one has pulled out of their six string before, as he nearly speaks in the minimalistic "Scars", "I need an hour just to say hello."

The most empathetic of these thoughts, "So alone I can taste it", falls within "When We Were On Fire", the moody track tinged with Carly Simon-esque crooning. It's almost impossible to believe that this is Bay's full-length debut, as a budding artist is almost never this in touch with himself.

Bay gave a taste of the promise land he had in store for both listeners and himself on four EPs, released throughout 2013 and 2014, particularly with November's "Hold Back the River". The track sounds like a river in itself, a more gospel brushstroke on a Jeff Buckley release. He asks for the chance to wander, while "Move Together" is an empty bed's cry for a lover while looking at the black night sky.

"Best Fake Smile" and "Craving" are the upbeat movers of the album, the former showcasing Bay's raspy vocal control, along with his dichotomy of bouncy sentimentality. "Get Out While You Can" sets him apart from his fellow up-and-coming peers, brandishing his ability to formulate a Brit-rock  - or even Springsteen - anthem in an unformulated way.

The album's strongest, "If You Ever Want To Be In Love", is perhaps the biggest ode to the 70's. It captures the thought everyone has, but no one ever says out loud, except for Bay in his raw whine, of course. The bridge, in all of its howling earnestness, is the best moment on the entire album.

It is nearly unfeasible to pinpoint the worst song out of the twelve, but "Collide" is the weakest. It's good, with all of it's edgy electric guitar flicks, but not good by this album's standards.

Bay still can do what indie singer-songwriters can do best: throw in a few dreamy ballads. "Need the Sun To Break" is simply one of the album's highest highs, as well as a beginning of an end realization. He speaks much of "you" on Chaos, but in "Let It Go", he promises that "I'll be me", on top of a sweet guitar drowning in a few minor chords. The closer, "Incomplete", is a final imperfectly perfect need for a connection. But, for Bay, there's still time.

Chaos is never hectic or thrown together; it is contrived with such a keen eye that Bay cannot be ignored. If he can continue to string eras along in his sound, he is a slick force that will keep answering his own questions on each release. In the chaotically calm Bay, the night may have finally found the voice it has been looking for.

//Angelia//

MIXTAPE MONDAY: there's a story in that

there's a story in that

there's a story somewhere in these lyrics that I'd like to know

+listen

ohio moon by blake skidmore // you by the 1975 // casimir pulaski day by sufjan stevens // everything you are by ed sheeran // what sarah said by death cab for cutie // the girl by city and colour // riding to new york by passenger // when i go by slow club // sloom by of monsters and men // things we lost in the fire by bastille // saviour (acoustic version) by lights // above the clouds of pompeii by bear's den // first day of my life by bright eyes

xx. Sheridan

MIXTAPE MONDAY: I'd Fight this Weird World

i'd fight this weird world
for the degenerates who aren't even the ones degenerating // 

+listen

buzzcut season by lorde // overrated by the eeries // america's suitehearts by fall out boy // loser by beck // heirplanes by japanese cartoon // no shows by gerard way // lights out by mindless self indulgence // heroes by all time low // fake tales of san francisco by arctic monkeys // kill all your friends by my chemical romance

//Angelia//

MIXTAPE MONDAY: Reckless Serenades

reckless serenades
songs that are best to listen to when you've had a little too much to drink //

+listen

backfire at the disco by the wombats // better than me by the brobecks // american pie by don mclean // semi-charmed life by third eye blind // star by david bowie // henrietta by the fratellis // alright by supergrass // ribs by lorde // suck it and see by arctic monkeys // xo by fall out boy

//Angelia//

REVIEW: Our Own House//MisterWives - Do NOT Put This On A Shelf

3.5/5 Stars

Waves to Watch: Our Own House, Hurricane

Genre: Indie Pop

Goes great with: LIGHTS, Bleachers, Vinyl Theatre

Few indie bands can manufacture a hit song that seeps so poignantly into the mainstream, to the likes of MTV and Top 40 radio. However, New York City-based MisterWives managed to do just that with "Reflections", off of their 2014 debut EP of the same name. Bringing back the aforementioned track, the five-piece strongly pop through their first LP, Our Own House (Photo Finish Records), building their own house in the industry. MisterWives find themselves presented with a task of finding themselves only a few years removed from their formation, yet they do it with so much flair, that it seems almost effortless.

Because of "Reflections", crowds have fallen in love with vocalist Mandy Lee Duffy's odd, Kate Bush reaching voice. Somehow, it is nothing like some of the molded powerhouses of today, yet still as compelling, maybe even more. The track is an example of what MisterWives have found themselves: summoning haunting verses that take a funkier form in the chorus. A listener cannot fully realize what the song will be until their brains have stammered through the separate styles, divided by two equally important visions.

The other three songs that have been transported from EP to LP, "Hurricane", "Imagination Infatuation", and the penultimate "Vagabond", are a look back into lesser known times for the band, as well as a foundation for the sound that they are bringing. The latter is accompanied by a simple, jarring piano, while the "Imagination Infatuation" reflects on "Reflections"' structure and reveals Duffy's sassier, cabaret-style potential. "Hurricane", the strongest of the twelve tracks, lends itself to the era of 80's power ballad percussion and a hollowness within Campbell's guitar. MisterWives assures themselves by saying, "We will not care if we're the only people swimming in the sea."

Sometimes, however, some songs do happen to get lost at sea, as with "Not Your Way" and the fitting beach jam, "Oceans". Both are less cohesive as the others, following a cliche suit of "Not going to obey, obey/This is my party, party" and "You are my everything", respectively. Sometimes the phrasing is so off its track that even the most elementary listener must squirm in their seats. 

"Coffins" hangs on by a thread, humming through the voice of a cathedral's organ. It shows off Duffy's peculiar way with words, especially when writing of the heartbreak that sails throughout the whole album, chiming "Your ego swallowed you and from there you fled." It can be easily forgotten by the wrong - or right - listener, however.

The track that shares its name with the album title's fills the listener's ears with first ethereal wisps and snaps, then a sharper horn-driven chorus. This song brings the funk that is often forgotten nowadays, while the fivesome reminisces, "And we swore on that day that it will never fall apart."

Both "Best I Can Do", while pleading for a change of heart, and "No Need for Dreaming", a seemingly synthed-up 50's high school favorite, are the party jams of the album. The latter plays as if the protagonists are spinning each other around at the school dance as the silver screen fades to black. Duffy twirls around the notion that "I will follow you til there's no beat left within me." "Box Around the Sun" sounds as if it could have been written by the great modern sonicman, Jack Antonoff, himself. 

Sometimes, the phrasing can be thrown off, making even the most elementary listener squirm in their seat. It falls back into place eventually, but it dilutes the pure magic that the band is trying to conjure.

The finale, "Queens," both an homage to the NYC borough or a crowning of sorts, exhibits the mastery that MisterWives have created for an echoing closing song. Perhaps the most autobiographical - and fully realized - of the album, as Duffy dreams of her past doubts of finding a place to let her voice be heard. On Our Own House, it is evident that she has now found such a place.

MisterWives have built a house made of stone, still malleable only to themselves, yet a firm stake in the ground they pace upon. It is an impressive first effort of a full-length album, and these dozen songs are sure to tempt crowds to their live shows, as the band embarks on a spring tour. Frankly, MisterWives have built what their album set out to do, and their own house will not fall apart any time soon. 

//Angelia//

MIXTAPE MONDAY: february air

february air
winter acoustics to fight the cold

+listen

your head and your heart by the saint johns // february air (acoustic version) by lights // white winter hymnal by fleet foxes // let her go (acoustic) by passenger // hello, i'm in deleware by city and colour // above the clouds of pompeii by bear's den // candles by daughter // stay with me // every little thing by louisa wendorff // january hymn by the decemberists // winter song by the head and the heart // the longer i run by peter bradley adams

xx. Sheridan

MIXTAPE MONDAY: Right Back At It Again

right back at it again

bands who are putting out new music this year//

+listen

ode to sleep by twenty one pilots // go go go by sleeping with sirens // bulls in the bronx by pierce the veil // if i could change your mind by haim // english girls by the maine // bedroom talk by the starting line // drown by bring me the horizon // something's gotta give by all time low // just a girl by no doubt // failure by design by brand new 

//Angelia//

MIXTAPE MONDAY: all covered up

all covered up

it's fucking freezing. cover up.

+listen

hold on, we're going home by the arctic monkeys // blank space // style by louisa wendorf (feat. devin dawson) // who you are by ed sheeran // i miss you by 5 seconds of summer //  every little thing she does is magic by sleeping at last // can't help falling in love by ingrid michaelson // no diggity // thrift shop by ed sheeran (feat. passenger) // your song by ellie goulding // say my name // cry me a river by the neighbourhood // we can't stop by bastille // problem by hozier // best song ever by gabrielle aplin // what makes you beautiful by the 1975 // girls just wanna have fun by george ezra // don't tell 'em by lorde // magic // adore you by louisa wendorff (feat. devin dawson) // chocolate by nina nesbitt //  don't stop by meghan trainor // take me to church by ed sheeran // riptide by vance joy

xx. Sheridan

MIXTAPE MONDAY: The World is Ending and I'm Going to Run with You

the world is ending and i'm going to run with you
The songs that would play as the credits rolled and the characters ran//

+listen

high by young rising sons // running with the boys by lights // born to run by bruce springsteen // the kids aren't alright by fall out boy // heroes by david bowie // the only hope for me is you by my chemical romance // far too young to die by panic! at the disco // long live by taylor swift // closer to the edge by thirty seconds to mars

//Angelia//

MIXTAPE MONDAY: to be young

to be young

here's to my last year as a teenager

+listen

tongue tied by grouplove // ribs by lorde // knock knock by mac miller // shut up and dance by walk the moon // unkinder (a tougher love song) by thumpers // end up here by 5 seconds of summer // little secrets by passion pit // ready to run by one direction // friends by ed sheeran // first time by vance joy // out of the woods by taylor swift // tee shirt by birdy // long way home by 5 seconds of summer // the love club by lorde // midnight memories by one direction

xx. Sheridan

REVIEW: American Beauty/American Psycho//Fall Out Boy - You Can Never Kill the Revolution

4/5 stars

Waves to Watch: The Kids Aren't Alright, Novocaine, Uma Thurman

Genre: Pop rock

Goes great with: Panic! at the Disco, New Politics, You Me at Six

On their last LP, Fall Out Boy left listeners with a single thought: "I only plugged in to Save Rock & Roll", and perhaps on their latest release, American Beauty/American Psycho, the four pop-rock kings are doing just that. AB/AP is noisy and filled with what bassist/lyricist Pete Wentz calls "frenetic energy".  So, yes, Fall Out Boy can still work a miracle, even ten years out from their first major label release.

Now, Wentz is back to writing close to all of the lyrics, unlike Save Rock & Roll, in which he first shared the role with vocalist/guitarist/composing mastermind Patrick Stump. Even as FOB continue to shave off more and more guitar, Wentz refuses to dilute his sometimes obscure, but distinguished lyrics. As with any release, the audience finds themselves asking, "What the hell is he talking about?!" until an epiphany is reached, sometimes years later.

The album opens up with the fanfare, "Irresistible", a song meant for breezy summer days in a hot car, admitting what's sure to be one of the most memorable lines; "You look so Seattle, but you feel so LA." The song's title track and second single, a dirty 80's punk track, driven by drummer Andy Hurley, is thrown from left field, considering the sound that the foursome has been creating lately. With both songs, the bridge is the strongest part, providing an anthemic beat to hustle to.

"Centuries", the band's Top 40 lead single and stadium favorite, borrows from Suzanne Vega's 80's track, "Tom's Diner". FOB reminds the masses that they are legends of immortality, perhaps in a slightly tongue in cheek manner. However, in their gladiator-inspired video, it seems that they are still taking their turn beating Goliath. Their Big Hero 6 track, "Immortals", reiterates the theme of forever, burning like a song beating through the streets of Tokyo.

At times, the lyrics are lackadaisical, heralding the repeated phrases as just fillers, as in "Favorite Record", an easily forgettable cliché "your love is my favorite song" declaration. "Fourth of July" is the other track that fails to stick anywhere in the brain, as Stump sings, "You are my best I'll never know." The sonic emptiness is poignant, however, and even the few lows make the highs seem even higher.

"The Kids Aren't Alright" is a turn to mortality, an acceptance of the bittersweet end; it is a classic Wentz effort delivered by Stump's maudlin vocals, crooning, "And in the end/I'd do it all again/I think you're my best friend." Even as they venture through their experimental phase, the foursome are saying, "This thing may end, but it's going to be okay."

Perhaps the three strongest tracks, "Uma Thurman", "Jet Pack Blues", and "Novocaine". are also the smartest. The latter, a sort of fraternal twin to SR&R's "The Phoenix" is the grittiest of the album, declaring, "I am your worst nightmare." "Uma Thurman", while borrowing The Munsters' theme and The Beach Boys' panache, admits, "I can't get you out of my head," as the listener can't control their twisting feet. "Jet Pack Blues" is the moodiest track on the album, and a flawless example of Stump's seasoned phrasing. 

This is not the Stump that hunched below the brim of his hat, refusing to lift himself from the shadows of Wentz. This is the Stump that can soulfully power his way through anything he throws at himself, while still managing to swing his hips from side to side. For this is the greatest Fall Out Boy transformation: Stump believes in himself.

The album's closer, "Twin Skeletons (Hotel in NYC)", is a darker, vaudevillian Folie à Deux/Save Rock and Roll hybrid. While it is not the strongest closing statement FOB has ever given, it offers a slight glimpse into the future, humming, "hold on."

So what will the future bring for the mighty lifers of the scene? In the near future, they will be embarking on a co-headlining Boys of Zummer Tour with Wiz Khalifa ("We Dem Boyz", "Work Hard, Play Hard"), with Hoodie Allen (People Keep Talking) as the opener. As for the long-term, maybe Stump, Wentz, Hurley, and Trohman are not sure what they'll burn next. But knowing them, they've got a few plans printed into the dirt road that they walk upon. And they're staying until the end.


American Beauty/American Psycho will be released January 20th on Island/DCD2 Records


//Angelia//