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The crossover we never knew we needed.

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Good Things Festival 2018 Sydney Review

Note before I begin: This review is limited to who I saw so not everyone is accounted for here.

The death of Soundwave left many rock fans without a decent festival.  Warped Tour had already gone along with Big Day Out.  Rock fans needed more.  Finally Download Festival came to Australia via Melbourne and will go to more states early next year but another legendary festival appeared suddenly which proved to be a good thing…I’m sorry.

Good Things Festival arrived this week spanning the east coast and if yesterday showed anything, it’s that Australia’s rock festival spirit is still alive and well.  As early as the first set with Ecca Vandal, the show got things going with tonnes of energy.  She balanced modern music with a heavier rock edge that made it equal measures perfect for head-banging and dancing most of the time.  Towards the end of her set, she even danced in the crowd.  A fantastic start to an amazing day.

WAAX soon followed, with the same enthusiasm that saw them excite Fall Out Boy fans earlier this year.  The band powered through every song with ease.  Boston Manor came on next with the crowd growing as the day went on.  Singer Henry Cox did an amazing job on getting the crowd excited while Jordan Pugh packed every track with a pun on drums.

Later on, Babymetal emerged on the other side of the park, their first time performing in Sydney and they made sure everyone remembered it.  Despite recent lineup changes, the band drew a great crowd showcasing how diverse their fanbase is and surprising newcomers with their energy.  While Su-Metal is arguably the focus at this point, Moa-Metal showed she isn’t letting recent departures push her into the background.  A new female member (Saya?) completed the trio and provided enough energy to keep up with fellow members.  The instrumentation was amazing as expected from Babymetal.  Although the members on instruments are not the face of the band, they truly do make the sound work, balancing the metal and j-pop elements of their sound perfectly.  Ending their set with Metal Resistance was a perfect decision the definitely left an impact.

Scarlxrd seemed an interesting choice for the lineup but his performance showed he can rock a crowd like any heavy rock act.  Calling for a bigger pit, he along with Jacky P, worked the crowd, joking around and screaming with every bit of energy he had.  Like any Aussie set, both guys were soon talked into doing shoeys much to fans’ excitement.  Much like Babymetal, Scarlxrd definitely would have left an impact on those checking him out out of curiosity.

Tonight Alive then switched things back to pop punk with singer Jenna McDougall showing appreciation for being able to play in her hometown.  Fans sang lyrics back with enthusiasm and Jake Hardy’s guitar sounded great, Cam Adler and Matt Best worked perfectly together on bass and drums respectively.  Much like their Aussie tour earlier this year, Tonight Alive know how to get a home crowd excited.  The set ended with McDougall telling fans to crowd-surf to her, give security a hug then her a high five and fans naturally obeyed.

All Time Low appeared to get the crowd really excited and singing every word.  While refusing to do shoeys (”Last time I did that, I was sick for two years.”) the band joked around on stage and did everything they possibly could to turn their set into one huge party.  Based on the number of people singing along, it worked.

Stone Sour were a fantastic edition to the lineup.  Corey Taylor has a lot of experience both at festivals and with performing in general and it shows.  Taylor worked the crowd and had them singing along.  Although many were sunburnt and sore at this stage, everybody joined in.

Unfortunately I have very little to say about Thee Offspring’s set as track work meant I left a bit earlier.  What I did see of their set was a fantastic mix of nostalgia, great rock and songs many know every word of.  Singer/guitarist Dexter Holland sounds no different to when he recorded Smash originally and the band played flawlessly.  Overall, it is the festival we really needed.  Taking aspects of past festivals and bringing together a great combination of unique acts.  Assuming they continue next year, go check Good Things out in the future.

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Panic! At The Disco - Sydney Concert 6th October 2018

Panic! At The Disco has changed a great deal over the years, whether it be the lineup or the music itself.  Despite this, they have maintained a consistent, loyal fanbase that continues to be extremely enthusiastic about everything they do.  The concert at Qudos Bank Arena in Sydney, Australia was fantastic proof of that fact.

The night opened with E^ST, an Aussie singer who showed she knows how to get crowds excited.  Even before she started her performance, the opening to the hit anime show, Avatar: The Last Airbender, played.  This was a genius way to hype up the teenagers and even some older fans.  E^ST showed her talent as a singer while engaging with the crowd between tracks and showing her appreciation for their early attendance.  Hints of the introductions to the hit Nickelodeon shows Spongebob Squarepants and Rugrats were snuck in before tracks, hyping up any 90s kid who had pay TV.  While E^ST may have been a strange choice to open for Panic! At The Disco when they started out, in 2018, it seemed a great combination.

As the introduction of Panic! At The Disco’s newest album, Pray For The Wicked, began, the arena filled with enthusiasm.  Brendon Urie instantly hyped up the crowd with opening track “(Fuck A) Silver Lining”.  The set consisted of songs from the band’s whole discography as well as three covers.  Urie took advantage of every moment, showing his full vocal range as often as possible.  The late inclusion of Mike Naran as touring guitarist worked extremely well as Naran nailed every moment, adding some grit to the more pop-leaning tracks.  Nicole Row did a great job on bass, particularly during tracks such as “Miss Jackson” and “Say Amen (Saturday Night)”.  Dan Pawlovich was fantastic at mastering the various drumming styles throughout the band’s discography and really shone when playing the drum fills of the two most recent albums.  The string and horn sections added some great depth to the performance that may have been missing if only backing tracks were used.  The band covered “Bohemian Rhapsody” and “Girls Just Wanna Have Fun” while Urie covered I “Can't Make You Love Me” solo.  The highlight for many fans may have been the performance of “Girls/Girls/Boys”.  Prior to the performance, some fans had organised for coloured paper hearts to be placed at every seat.  During the song, fans placed these hearts over their phone lights to form a rainbow across the venue while some also wore rainbow flags along with Urie himself.  The screens on the stage also shoed a rainbow.  After the track, Urie took time to thank the crowd for this gesture of unity.  As expected, the set ended with the track which started it all, “I Write Sins Not Tragedies”, causing an eruption of excitement from the crowd.  As the set closed, Urie reminded every single person in the crowd of how important they were, an important message for a predominantly young, alternative crowd.  The concert was a brilliant example of the ongoing power of Panic! At The Disco’s music.  Ever since 2005, they have always found a way to connect with people and put on an amazing show regardless of who is in the band at the time.

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Trench - Twenty One Pilots Review

It is difficult to describe Twenty One Pilots in a single word.  Along with post-hiatus Fall Out Boy and post-other-members Panic! At The Disco, they have transformed what the alternative scene is.  One word that has never described the duo is “boring” but for some, Trench may be the first time that word fits.

There have been plenty of singles in the past by other artists that don’t represent the sound of the album as a whole.  While the first single for Trench, “Jumpsuit”, is definitely not the best example of what this album sounds like, it was paired with “Nico and The Niners” which is closer to the feel of the album as a whole.  “Levitate” was a decent rap track with a good vocal delivery but fell short of similar tracks of the past such as “Heavydirtysoul”.  “My Blood” took a while to get going but once it did, it was a nice enough track.

The rest of the album is far from a train-wreck which may have been a better option in a year of disastrous albums and dreary ones.  This album is hard to be annoyed by but just doesn’t have the energy of their previous work.  The final track, “Leave The City”, is an expected slower one but in the last two albums, this was a strong contrast the rest of the tracks.  The dreary tone of most of the album means the final track doesn’t hit as hard.  Overall, this is not a horrible album, just not the energetic, powerful ride the duo have previously excelled at.  With the success of their previous track, “Heathens”, it seemed a slower pace may be where their music will mostly stay.

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Lake Effect Kid - Fall Out Boy Review

Lake Effect Kid is a recent EP by Fall Out Boy.  The title track is an official recording of a demo released just over a decade ago prior to the release of 2008′s Folie à Deux.  I have given the EP some time to sink in before reviewing it.

The title track is a fantastic Fall Out Boy track that fits perfectly into their pre-hiatus sound.  The lyrics have more lines and don’t rely on repetition anywhere near as much as has the band has in recent years.  The production is punchy and full of life.  It’s refreshing to hear a track where all four members are fully present and not hidden under samples, electronic production or synth layers.  Andy Hurley’s drums are more recognisable with an acoustic kit and Joe Trohman’s guitar has an edge to it that is still yet to be heard in a studio LP since 2008.

“City In a Garden” is a little off-putting at first.  Its off-kilter beat is something that seems to have bugged some people and can take some time to get into but it’s a great transition track, bridging the gap between their pre and post-hiatus sound.  The guitar is still fully present but the beat is more compressed and there are little bits of repetition that feel like laziness as opposed to attempting a hook.  It doesn’t quite live up to the title track’s promise but is perfectly fine.

“Super Fade” sounds perfectly at home on the band’s 2018 release MANIA which inherently will make some hate it.  The song is most comparable to the album’s first single “Young and Menace” which, at best, received a divisive response.  The song again derails completely after the pre-chorus into a scattered, chaotic mess.   The pre-chorus itself is frustratingly repetitious which removes all excitement before it gets really messy.  It’s a shame because, despite some repetitious lyrics, the verses lean towards Patrick Stump’s solo album Soul Punk which isn’t Fall Out Boy but also is far from bad.  The track is a mess of ideas and the worst part is, the production on the verses and “chorus”/”drop” is actually quite good.  The treble on the pre-chorus may be a little high but it’s clear a lot of effort was put into production in the track and despite the composition, it really does show at times.  This EP is somewhat misleading with a fantastic opener, decent middle track and a giant question mark as a closer but is an interesting listen that should definitely be checked out.

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Berkeley’s On Fire - SWMRS Review

SWMRS are a somewhat divisive band despite not being a household name.  Part of this can be just personal taste in music but it can also be because they are a hard band to explain due to constant changes.  The band has been under different names, different labels, a slightly different lineup and changed sound constantly.  Their most recent change was a switch to Fueled By Ramen, announced in 2017 which may have left some fans skeptical of their direction in the future.  While the label is known for some extremely popular alternative acts (Panic! At The Disco, Twenty One Pilots and more), many of those acts have become progressively pop-sounding as pop punk and alternative rock have become less popular.  The band noted in an interview that the label would not change their sound and with a new single out now, that judgement can be made.

“Berkeley’s On Fire” is a little different to their material on 2016′s Drive North but not in the way many may expect.  While there are some electronic elements, this has been the case for the band in songs such as “Hannah” and “Miss Yer Kiss”.  The change the song makes is that it seems to be inspired by either Talking Heads or Devo.  To fans of the band, this may make sense in that their former label, Burger Records, has many artists incorporating older alternative sounds into their music.  While this is the first obvious example, the band have played with nostalgic pastiché in their videos, whether it be the 70s/80s feel of “You Bit Me” (as Emily’s Army) or the early internet style “Miley”.

“Berkeley’s On Fire” definitely leaves an impact.  The chorus will be stuck in many fans’ heads instantly and it is far from boring.  One’s interest in it comes down to whether you like post-punk inspired rock with claps.  The things that may deter some listeners are the things that would work if adapted to straight punk.  The song is obnoxious and loud but a lot of that is due to the electronic elements and Cole Becker’s vocal delivery.  This track is an acquired taste, uniquely SWMRS yet nostalgic.  It is likely to take some fans longer to get into and may prove divisive for newcomers.  Check out the music video for the song below: https://www.youtube.com/watch?v=b278Rr0ZgGk

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Pray For The Wicked - Panic! At The Disco Review

Pray For The Wicked recently came out recently and was met with a relatively positive response from fans on social media.  The response from critics has been much more mixed.  With the band now having Brendon Urie as the sole member and the sound becoming increasingly pop-orientated, how did this album turn out?

The album suffers from an odd tone.  The pop and Sinatra aspects of Death of a Bachelor (2016) seemed to fit together smoothly with the title track in particular combining the two vastly different styles perfectly.  Both styles feel more at odds here, fighting for recognition.  The horns blare as much as possible while the electronic high hats play at a rapid pace with a tinny sound.  This is the root of the problems with this album, the production is too busy and ambitious.  While Death of a Bachelor took risks, it showed restraint which allowed the layering to be more powerful.  The multiple layers on these tracks often merge together into an obnoxious buzz.  The production on the vocals is frustrating at times, seemingly taking cues from Fall Out Boy and making the high notes more piercing.  Urie has some great high notes that would definitely have benefited from past production approaches.  The lyrics themselves are mostly what we have come to expect from Urie at this point, partying, feeling burnt out, nostalgia and drinking.  The big exception is “King Of The Clouds” which is a reflection of Urie’s ramblings on marijuana moulded into lyrics.

So based on that, the album must be a disappointment, right?  Not entirely.  While the album certainly falls short of its predecessor and the majority of the band’s albums, it has moments of brilliance.  The use of strings and horns in the verses of “High Hopes” for example is brilliant, even under the barrage of high hats at times.  “King Of The Clouds” is a unique track for Panic! At The Disco with layered vocals, a 3/4 time signature and a surreal atmosphere that makes it a stand out track.  “Say Amen (Saturday Night)” is possibly the most consistently good track, mostly due to having a similar vibe to “Emperor’s New Clothes” and having a brilliant vocal performance towards the end.  Despite a somewhat annoying chorus, “Roaring 20s” has a great energy which is further improved upon later on “The Overpass”.  These two tracks take advantage of older genres while keeping modern production and Urie gives these two tracks everything he has.  “Old Fashioned” is among the weakest links, seemingly going for a Jason Derulo “Talk Dirty” vibe with the vocal inflections of Imagine Dragons’ “Thunder” and a faux-inspirational pop diva chorus.  It isn’t horrible but just feels disappointing from an artist capable of so much more with a unique energy.  “Hey Look Ma, I Made It” and “Dancing’s Not a Crime” do a better job with the pop sound and Urie tries his hardest to sell the performance but they don’t quite hit the brilliance of his previous album.  “One Of The Drunks” is an interesting track, seeming more at home in 2013 Panic! At The Disco.  The calmer vibe by comparison makes the track a breath of fresh air.  It is by no means a great track but gives a better sense of balance to an otherwise overbearing album.  The only other softer moment is the album’s closer “Dying In LA” which is a decent piano ballad with orchestral backing.  While the track suffers from comparisons to “Impossible Year” as well as some strange inflections in the chorus, it is a perfect way to close an equally mixed album.

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King Of The Clouds - Panic! At The Disco Review

“King Of The Clouds” is the fourth song released from Panic! At The Disco’s upcoming album Pray For The Wicked.  For the sake of context, here are one word descriptions of my thoughts on the previous tracks.

Say Amen (Saturday Night) - A decent, powerful track which continues to get better with every listen. (Fuck A) Silver Lining: Goes by a little fast and a bit repetitive but has a catchy melody. High Hopes: A potentially fantastic track held back by busy production on the chorus.

How does “King Of The Clouds” compare to these tracks?  The track uses a different time signature and energy which takes advantage of the strange production choices the album appears to have.  It’s still as busy as the others in terms of layering but seemingly with more purpose.  The track has been noted as inspired by being high and the production doesn’t hide that fact, creating a surreal atmosphere with layered vocals and he occasional pitch shift.  The lyrics are scattered and fit the surreal atmosphere perfectly and the delivery in the verses is closer to something off of the band’s first album with the 3/4 time signature.  Much like “(Fuck A) Silver Lining”, the track goes by too fast at just over two and a half minutes, possibly due to it being created extremely late in production..  It would have been interesting to see what the song may have become if given more time.  What fans have received, however, is a decent track with a strong sense of atmosphere and an interesting insight into unfiltered Brendon Urie partially written by someone else.  Overall, this may end up a highlight of the album despite the short length.

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High Hopes - Panic! At The Disco Review

Panic! At The Disco’s last album, Death of a Bachelor was a big success.  It gained attention for it’s energetic pop sound fused with hints of guitar, strings and horns.  Brendon Urie, now the solo studio member, gave arguably his greatest vocal performance and played a lot of the instrumentation himself.

Now, in 2018, after a great deal of speculation and crypticness expected from an alternative artist in the 2010s, the band’s next album is on the way.  Pray For The Wicked is due on June 22nd and appears to be headed in a similar direction to its predecessor with orchestras, strong percussion and strong vocals.  First official single, “Say Amen (Saturday Night” was much like previous single “Emperor’s New Clothes” in its unapologetically dark lyrics and demanding sound while also connecting to that track in the video.  “(Fuck A) Silver Lining” was an energetic track that was somewhat similar in its content but with great use off bass and percussion that seemed to almost channel Michael Jackson.

The third track to be heard is “High Hopes” and, while the lyrics are more personal and uplifting, the possible flaws in the album seem to be showing.  The song suffers from overly-busy production that feels a bit uneven.  The introductory chorus  mixes horns, percussion and vocals that all feel flat and to a bit high on treble.  This wouldn’t be an issue if the proper choruses weren’t equally mismatched.  The production on the choruses is too busy, much like the band’s Christmas song “Feels Like Christmas” from late last year.  It is like a busier version of the bridge from Death of a Bachelor’s title track except that bridge didn’t have vocals to add to the sound.  This may not be a deterrent for some and the production on the verses and pre-chorus is much better making great use of strings.  Urie’s vocals are given more range in the verses, making them sound even more well-crafted.  The issue that seems to be present in this track and “Silver Lining” to a lesser degree is that busy, layered production seems to be used to provide energy.  More can be done with less.  A slightly higher let barer beat or hints of crunch guitar would add energy and power without being too cluttered.  Overall, none of the three new tracks are bad but seem to be trying too hard to go all out when the first single of the three set the bar for how to make powerful tracks.

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Wilson (Expensive Mistake) - Fall Out Boy Rewritten

I thought I was Gonna say something that would solve all our problems But then I got drunk and I forgot what I was talking about Drank too much and the thoughts all flowed out. Then I though, don't you know There's nothing more cool than to be loved by everybody But nothing more cruel than to be loved by everybody but you When you’re loved but don’t know what to do, with you. If I can get my shit together I'm gonna run away and never see any of you again Done feeling like a means to an end.

I hope the roof flies off and I get blown out into space I always make such expensive mistakes I know it's just a number but you're the 8th wonder I'll stop wearing black when they make a darker color

Woke up on the wrong side of the paradise So when I say I'm sorry I'm late I wasn't showing up at all That’s why I didn’t answer all the calls. I was thinking, don't you know I hate all my friends, and I wish the friendships ended But now and again I miss the days when I pretended with you But I guess all the pretending is through.  Us too. If I can get my shit together I'm gonna run away and never see any of you again Done feeling like a means to an end.

I hope the roof flies off and I get blown out into space I always make such expensive mistakes I know it's just a number but you're the 8th wonder I'll stop wearing black when they make a darker color.

If we hadn't done this thing, I think I'd be a medicine man So I could get high on my own supply whenever I can And I became such a strange shape, not quite the same from trying to fit in Sick of smiles that became fake, walking away. 

I hope the roof flies off and I get blown out into space I always make such expensive mistakes I know it's just a number but you're the 8th wonder I'll stop wearing black when they make a darker color Whoa, whoa, whoa When they make a darker color.

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#ChangeTheChannel

While I am a fan of many bands, there is another fandom I am more actively involved in. A fandom that felt as inconsistent as any bands’ fanbase is but for a cause built on community involvement. I have been a fan of Channel Awesome since it was still called ThatGuyWithTheGlasses. The site introduced me to a broad range of interesting reviewers. Doug Walker (Nostalgia Critic) helped me both relive nostalgia and take a look at 80s/90s American nostalgia. Todd In The Shadows taught me a lot about music which has helped me understand why I like or dislike songs. Tony Goldmark (Some Jerk With a Camera) amazed me with the end of his Escape From Tomorrow review. Allison Pregler (Obscurus Lupa) introduces me to The Evil Dead. Lindsay Ellis (former Nostalgia Chick) completely reformed my approach to and understanding of film analysis. These people changed my approach to film, TV, music and more.

It was therefore a shame when Allison and Phelan left. At the time, I didn’t get too invested in why they left because I often overlook drama. Then Lindsay left and my understanding was that she didn’t want to be a female counterpart to somebody else anymore. In the last month, the truth about what is happening/has happened at Channel Awesome is being revealed and it is no longer right to blindly defend the site. Their history of mistreatment and double standards can’t be overlooked anymore but those involved are refusing to discuss it via blocking people and removing posts on the Official Channel Awesome Facebook Group. The information released so far regarding CEO Mike Michaud cannot be overlooked out of ignorance anymore.

With today’s news of Linkara and Suede leaving the site after revealing more of the site’s history, it is the slow end to the site that gave us so much but at the cost of those it lead us too. Todd in the Shadows is gone from the site as of this week, Kaylyn Saucedo (Marzgurl) left some time ago and has played a major role in bringing a voice to this movement alongside Allison, Lindsay, Jacob Chapman, Holly Christine and more. It appears to be the beginning of the end of the site and one can only hope that those who are unable to leave find success when the site does fall. To the countless reviewers fighting to be listened to right now, the site promised a community. If it has failed to provide that, the fans will build it instead. Those who stand by you are not going away.

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Panic! At The Disco Say Amen and Silver Lining Review

[Explicit language warning]

Panic! At The Disco have officially announced their upcoming album Pray For The Wicked, due for release on 22nd June 2018.  With this announcement, a music video for the track “Say Amen (Saturday Night)” was released along with the track “(Fuck A) Silver Lining”.

The video for “Say Amen (Saturday Night)” begins with Australian news reporter Airlie Walsh discussing a key stolen from a Melbourne museum.  Some people in balaclavas enter a home as the report continues as Brendon Urie enters the room wearing the key mentioned in by Walsh.  The music plays as Urie murders all the trespassers while waiting for a date to arrive.  The ending of the video implies that it is a prequel to the video for 2013′s This Is Gospel, meaning three tracks from three separate albums have linked videos so far.  The song itself is slightly overpowered by the foley in the video but when listened in isolation is quite good.  It most closely resembles “Emperor’s New Clothes” from Panic! At The Disco’s previous album Death of a Bachelor while seemingly taking cues from modern music including Urie’s peers, Fall Out Boy.  Various vocal snippets are looped under the verses including what seems to be Dr Dre on the second verse.  The beat and brass section combine to create a commanding track with a great deal of energy.  Urie’s vocals are as powerful as fans have come to expect and the bass is fairly simple, allowing for the other elements to stand out more.  The lyrics are fantastic and the melody sounds great.  The band’s tracks have always found a way to drill lyrics into the listeners’ minds without relying too much on simplicity and repetition.

“(Fuck A) Silver Lining”, while more repetitious than “Say Amen”, is still a decent track.  The song will be first on the upcoming album with “Say Amen” following immediately after.  The instrumental on the chorus may be a bit busy for some but the verses have an interested sound that somehow mixes various eras of pop with hints of Death of a Bachelor.  The instrumental borders on somewhat of a Michael Jackson sound, particularly with the percussion while maintaining the modern Panic! At The Disco energy.  The bass and guitar elements are more complex and noticeable and work well off the beat, especially during the verses.  The lyrics of both tracks revolve around power and have an anti-hero element that was also present in tracks from Death of a Bachelor.  With the album being named Pray For The Wicked, these lyrical themes fit perfectly.

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Coming soon!

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M A  N   I    A - Fall Out Boy Review

M A  N   I    A is an interesting album in many ways.  With the release delayed and extensive rerecording and rewrites, this album has only two completed tracks left over from its original track list.  What fans are being given is an audio contradiction full of both bubbly and extremely dark songs as well as slower tracks that, at this stage in the band’s career, no longer come as a shock (see “Golden” and “What A Catch, Donnie”.

Is this album worth waiting for rewrites and a complete restructuring?  After all the hype surrounding this album, it will definitely get a mixed response.  While the exploration of sound is broader than ever before, it does include more physical instruments with Joe Trohman’s guitar being used seemingly alongside heavy synths to create a powerful sound, framed by some of Pete Wentz’s best bass work since the band’s hiatus a decade ago.  Andy Hurley, at times, disappears into the background due to a electronic kit but is doing an impressive job if one consciously notes that all of the percussion is being played by hand.  As usual, his drum fills sound fantastic, especially in the bridge of “Hold Me Tight Or Don’t”.  The broader sound may deter some fans but at this point in the band’s discography, many who stuck around won’t be expecting the pop punk band of the 2000s.  Taking cues from many popular artists of now, the band mixes in as much as they can, including church choirs (”Church”), booming synth (”Stay Frosty Royal Milk Tea”) and an interesting feature by Burna Boy (”Sunshine Riptide”).

The album does have some major setbacks however, with the band’s lyrics continuing their downward spiral of confusing imagery.  Rhymes border on non-existent at times, repeating some lines or simply not rhyming at all.  This is especially disappointing considering the lyrics were written by multiple people, with the whole band credited along with others, including Sia.  These inconsistent and often repetitive lyrics rely on Patrick Stump’s commitment to the vocals to cary them and, for the most part, he may do a decent job of giving enough energy to distract some listeners.  Where his vocals fall short is in production.  While it is hard to pinpoint who decides to put effects on Patrick Stump’s vocals, it can often become distracting given how powerful his voice can be.  Tracks such as “Church” would have benefited from having a cleaner vocal mix given the energy Stump is putting into his vocals.  This has been a consistent issue since 2013′s Save Rock & Roll and seems likely to continue.

Aside from the issues in the last paragraph, this is an interesting album with some major risks that often pay off.  While the lyrics often fail to live up to the gigantic sound of the album, the overall product is enjoyable.

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Jingle Mole

Jingle Bells sung by Hans Moleman from The Simpsons.

Dear Tumblr,

Merry Christmas.

Love, Hans Moleman

[fandombandblog]

God’s Favorite Band - Green Day Review

This review will only focus on the two new tracks presented on this greatest hits album as the established tracks can be discussed separately when focusing on the albums they came from.  God’s Favorite Band features two new tracks, one of which is a remake of a previously-released track.

“Ordinary World” was initially released in Green Day’s last album, Revolution Radio and worked perfectly as a closing track.  This remade version of the track features Miranda Lambert and is rerecorded from scratch.  Armstrong had previously performed live with Lambert covering the Everly Brothers’ “When Will I Be Loved” in 2014.  This was following an Everly Brothers cover album he had made with Norah Jones called Foreverly.  This version of “Ordinary World” is definitely reminiscent of both the live performance and the cover album.  The harmonies in this track sound fantastic and the instrumentation, while simple, frames the vocals perfectly.  While it is far from a completely new version of the track, it serves as a great alternate take on it.

“Back In The USA” is much closer to what one would expect from a Green Day song.  It seems to fall somewhere between the sound of their 2012/2013 trilogy and 2016′s Revolution Radio in terms of sound but, based on the lyrics and video, this could easily have been written since the latter’s release.  While a fairly short track which doesn’t stray too far from the old Green Day pop-punk single formula, it has a sense of urgency and energy that makes it hard to not appreciate.  The lyrics feel genuine and the accompanying music video makes their message about suburban denial of reality clear as possible for the viewer/listener.  While this track is unlikely to become one of the Green Day greats, it serves as yet another decent extra track on a Green Day greatest hits release (alongside “Maria”, “Poprocks and Coke” and “J.A.R.” on International Superhits) and has a greater sense of urgency than any such track.

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Keep The Coffins Coming - Frank Iero And The Patience Review

Frank Iero is an interesting individual.  His dark imagery mixed with a metaphorical (and often literal) smirk creates a sense of maniacal fun that makes him hard not to enjoy.  He is also quite polarising.  The rough sound of his post-My Chemical Romance music is one which most fans of his former band seem to have embraced but the aspect that often shines through is his vulnerability.  Iero has a very honest approach to songwriting, singing, performing and interviews that has helped him have continued success and maintain a committed fanbase.

Keep The Coffins Coming by Frank Iero and The Patience features two previously recorded songs rerecorded.  “I’m a Mess” (originally from 2016s Parachutes) has a heavier sound and slightly different vocal flow on the verses.  It’s rougher around the edges but is no better or worse than the original version, simply different.

“BFF” (originally a standalone track featuring Iero’s daughters) feels more complete here.  While the original had a sweetness to it due to his daughters’ involvement, this is a better track structurally with Iero adding his newer vocal inflections and major changes to the instrumentation.  While the original will always be powerful, this sounds better overall.

“No Fun Club” would have fit well on the band’s previous album Parachutes.  While musically it sounds great, some may be deterred by possibly Iero’s most frantic vocals.

“You Are My Sunshine” (a cover of the popular Jimmie Davis and Charles Mitchell track) works perfectly as a follow-up to “No Fun Club”, contrasting the frantic, frustrated vocals and heavy instrumentation with a slower tempo, softer instrumentation and a vulnerable vocal approach.  The song builds up to a heavier climax and closes the album perfectly but takes its time.  At just under five minutes long, it is a clear outlier in an EP of songs under four minutes each.  A perfect closer in this EP.  Overall, this release is seemingly not meant to be breaking new ground, with two rerecording, a cover and only one fully original song, but is a fantastic representation of a band with a charismatic and very honest lead who has continually been fascinating to watch.