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recommendedlisten · 3 years

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A couple years back, Recommended Listen introduced an appendex to its annual Best of albums list with a focus on all of the darker, heavier music it wanted to recommend from over the course of the year, because let's face it: Between the polarities of indie rock and poptimism, sometimes the loudest sounds don't get a fair shake on year-end coverage. It took last year off to focus on rounding up the decade's best albums instead, but it's back in 2020 to highlight the best albums in the realms of hardcore, punk, metal, experimental noise, even hip-hop, and beyond. Given the year it has been, the context of what constitutes a heavy listen has very much taken on a totally different meaning, but at the same time, has made these sounds all the more wild. Here's to the albums of Heavy '20...

Backxwash - God Has Nothing to Do With This Leave Him Out of It [Self-released]

God Has Nothing to Do With This Leave Him Out of It challenges the notion that hip-hop -- especially the kind that is executed as masterfully in its artform and intentionally as that created from the caverns of Backxwash’s lost soul -- can’t be heavy music, too. The breakthrough album from the self-made, self-produced Montreal-by-way-of-Zambia artist is raw in texture and a carnal mean-mugging in its energy just like the unapologetic eye of its creator. The listen does not repent on the brooding weight of Backxwash’s confessional rhymes and the beat soundscape -- a playground built from pieces of the goth, trap, and industrial underworlds -- she sets them along is a 22-minute thriller through damnation.

clearbody - One More Day [Smartpunk Records]

One More Day, the debut album from shoegazing emo-punks clearbody, bears down on you from above from its very opening moments. Much like scene luminaries Superheaven and Cloakroom, the Charlotte trio’s grizzled, reverb-soaked rock aspires to fill the whole sky, yet with its melodic density in tow, much of that is consumed into our own claustophobic insularity. Thus, brings the hearth from the trio’s vacuous sound into our own desolate realm of darkness wholly, and lets it burn within. It makes for a blurring firestorm of palatable gloom that at least offers you comfort in spite of each daily struggle.

Code Orange - UNDERNEATH [Roadrunner Records]

As most of the world remained stuck inside throughout 2020 and unsure of what it will look like when we actually do see that light at the end of the tunnel, the corrosion of the self through our addicted virtual identities has come back karmically to torture us on UNDERNEATH. Code Orange’s latest transformation is a series of shock therapy treatment and defiant self-immolation tailored for their largest stage to date as well. The Pittsburg band’s sound continues to thrive off pure hybrid chaos that reflects pitch black nihilism with frayed wired nü-metal connections, dramatic, brutalist metalcore maximalsm, and towering new power that shakes the fault lines. A collective machine built from not only their own individual might, UNDERNEATH hears the ills of humanity sink deep into Code Orange’s skin and again change their DNA.

Deftones - Ohms [Warner Records]

Ohms, the ninth studio effort from Deftones, is a masterful display of the sheer sonic velocity which the metal-gazing hydra-heads still have the power to conduct through the atmosphere, even 25 years after they broke new ground with their definitive album White Pony. It could be, in parts, due to the fact that Ohms reunites the Chino Moreno’s atmosphere-defying vocals and guitarist Stephen Carpenter’s monochromatic electricity with classic era producer Terry Date, but there’s a newfound wisdom on balance (”balance, balance, balance!…”) heard in their alternative rock innovations that turns Ohms into an infinite current every future heavy artist will be keen to draw from.

DRAIN - California Cursed [Revolution Records]

Santa Cruz thrashers DRAIN have been seething to make their official first move in the hardcore scene since amassing a cult following within its DIY circles and becoming fest highlights over the last few years. Their debut full-length for venerable hardcore label Revolution Records does no hold back on that feeding frenzy. Rattling influence of NYC hardcore as well as a high voltage metallic intensity, California Cursed is a filthy homage to their home state that chomps with disgust and reckoning for its polluted air and water. Frontperson Sam Ciaramitaro’s sneering performance ups the confrontation with a tidal wave of chaos backs up his audacity. Washed ashore at its end, you won’t know what hit you.

ENTRY - Detriment [Southern Lord]

It only takes 15-minutes of ENTRY’s Detriment to turn your body’s nervous system inside-out. Formed in Los Angeles between PA punk scene veteran Sara Gregory, Touché Amoré guitarist Clayton Stevens, Sean Sakamoto of the indie-pop band Sheer on bass, and drummer Chris Dwyer, the band’s arrival spills all of the very heaviest-hitting emotions being burdened within our bodies in a terrifying year into an onslaught of scathing screams and brutalist hardcore. Their exorcism might wreck everything, including you. Burn it down. Start over. ENTRY’s means justify its ends.

Gulch - Impenetrable Cerebral Fortress [Closed Casket Recordings]

You will experience instantaneous confrontation when pressing play on Gulch’s Impenetrable Cerebral Fortress. The Santa Crus five-piece’s debut full-length is a scourge of corrosive electricity and piston drums played at excess speed with an ugly, nihilist end destination. All this is placated with album art that projects Gulch’s binary of strange, carnal beauty and a grotesque allegory of life gnarled through reckless hardcore merrymaking, making the whole of the 15-minute listen resonate much deeper than its temporal intentions. Paired with the production of Jack Shirley (Deafheaven, Loma Prieta), Gulch are able to see their vision through the flames fanned on their 2018 EP Burning Desire to Draw Last Breath, and incinerate you from a stereo’s distance.

HEALTH - DISCO4 :: PART I [Loma Vista Recordings]

Normally, HEALTH’s DISCO series involve remixes of their own work, but its latest installment is a very, very different, more abrasive monster. Instead of reimagining existing work, the Los Angeles industrial trio set out to create new music with an esoteric cast of abrasive misfits and other sonic outliers, including the likes of Soccer Mommy, Xiu Xiu, 100gecs, FULL OF HELL, and Youth Code. The culmination of those efforts on DISCO4 :: PART I is a fascinating experiment in new possibilities, as each of the artists are able to explore new layers within existence’s darkness (and their own) by merging their creative identities into HEALTH’s futuristic noise.

Higher Power - 27 Miles Underwater [Roadrunner Records]

Built with just the right amount of progressive hardcore groove and big anthem gloss, Higher Power’s 27 Miles Underwater has the ability to command pits digging up the underground as well as those soaring above the masses. The super power distinguishing the UK bunch from the growl of their peers is the vocally amorphous presence of frontman Jimmy Wizard as it polarizes itself over sawing riffs and cosmic spaces with both raw and aerodynamic plasticity. His existential primal screams compliment the overarching soundscape guitarists Louis Hardy and Max Harper, drummer Alex Wizard and bassist Ethan Wilkinson create as it zig-zags from melodramatic hardcore into ambiguous psychedelic wavelengths being resonated through the depths of the universe.

Hum - Inlet [Earth Analog Records]

In the 22 years that Hum have gravitated away from our orbit, their mark on rock music has at least been apparent from down here on Earth. There is however, a greater reach from Hum’s orbit down to our terrain here on their return Inlet. No longer glossed with the major label studio sheen that gave them alternative FM dial hits, the Champaign space-rock quartet sound at home reconvening in a more ornate, dynamic form through their second life. For 55 minutes, it feels like every detail on Hum’s International Space Station is visible from the ground as it makes passage right outside your window, humanizing their future sound as something tangible with a touch of fragility.

METZ - Atlas Vending [Sub Pop]

METZ have never ceased to take artistry into account in the loud volume of their noisemaking, where as many of their peers have fallen by the wayside for relying too, er, heavily on their ability to make the room shake and bowl over listeners. Atlas Vending, the Toronto trio’s third full-length effort, is what noise-rock sounds like when all of its moving parts work in unison as one well-oiled machine. Guitarist and vocalist Alex Edkins, bassist Chris Slorach and drummer Hayden Menzies have not only refined their decibel-crushing sound by pushing it even further into the sky, but they do so by delivering their hookiest material yet without disregarding their innate ability to rattle through any surface, be it in the flesh or through the speakers.

Moor Mother - Circuit City [Don Giovanni Records]

Camea Awaya’s work as Moor Mother feels endless and interconnected, even when she veers off course into cosmic experimentalism or joins forces with creative forces outside her own body. The sounds which the avant-noise artist has already assembled especially move differently when she reconnects with them, as is the case Circuit City, a production originally staged in front of a festival audience and now given a proper recording which brings a different source of energy into the composition. Awaya fills every second with its own purpose, struck by calamity in an avant-jazz fusion of brass and percussive confusion mirroring her own. Her words and the fury of sound battle with the darkest of American injustices – All of the shattered wishes, dreams, and right. Constantly surrounded by a war for her own being, Circuit City connects the outside world’s noise with an anxiety that has becomes too daunting to ignore.

Narrow Head - 12th House Rock [Run for Cover Records]

The second 12th House Rock lifts off with “Yer’ Song”, Narrow Head have left our atmosphere. With the Houston rockers’ sophomore effort and first for Run for Cover Records, the five-piece take homage with the mightiest of the ‘90s alternative’s big riffed work heard in the currents of everything from Hum, the Deftones, My Bloody Valentine, and Brit pop fully amped. With a little rewiring of their electric diagrams, Narrow Head rips through huge hooks and dizzying spins of their own gravity. In these times, 12th House Rock’s energy is the kind of escapist album direly needed in 2020 when you need to put something on loud to drown out the rest of the world.

Nothing - The Great Dismal [Relapse Records]

There is probably never going to be a moment in time where Nothing change their tune on the inevitable collision between our lives and oblivion, and The Great Dismal is the period on that statement that makes it reverberatingly loud that won’t be happening any time soon, if ever at all. The Philly shoegazing punk band’s fourth full-length effort piles on heavier dark matter and churns up the velocity as they plummet into the big black hole sucking us all in more by the day. The songs on this album are also beautiful sinks into the void as well, containing the four-piece’s most accessible work to date. Their sound – muscled in hook-laden feedback, adorned by touches in oddity from Alex G and Mary Lattimore, and confident in boldness – can hold its own even in zero gravity.

Record Setter - I Owe You Nothing [Topshelf Records]

Despite having clashed with their sound in the past through grungy post-hardcore and atmospheric math-rock, Record Setter’s I Owe You Nothing is arguably the first obvious moment of clarity for the Denton, TX four-piece even if their sound veers off into varying gravities of screamo, post-hardcore, and cavernous emo rock. The emotional weight anchored behind each track is what grounds the listen onto the same landing space regardless. A catharsis in identity and by Judy Mitchell’s living truth, approaching their art with this intention has emancipated the band’s second-guessing. Be it the chaos in motion, melodic turnstiles, or vulnerabilities impressed close to the surface, Record Setter attach a heaviness to their sound created not by decibel or amplification (although, the use of added weight in their crushed guitars and crash cymbals adds the album’s turbulence…,) but by human forces bleeding themselves into it.

Shamir - Cataclysm [Self-released]

On Cataclysm, the darker side of two very different albums from Shamir this year, the genre ambiguous artist embraces death through distortion, and that it renders both an anomaly in his catalog by way of stylistic consistency as well as some of his most hook-driven rockers to date makes this turn toward sonic violence stick. In listening to tracks like the static-drenched menacing bop of “Hell”, the desolate post punk atmosphere of “Scream”, or a queer take on Nada Surf popularity in “Feminine Guy”, you can hear how these songs exist to hex listeners into Shamir’s heathenry as he channels an unconventional lightness in his vocals through beefed up muscularity in guitar electricity. If the butterfly must die, then it will never be in vain, for this incarnation of Shamir creates something remarkably outside this world when baring all of its weight.

SOUL GLO - Songs to Yeet At The Sun [Secret Voice]

Even in its rapid fire 12-minute length, Songs to Yeet At The Sun, the latest EP from SOUL GLO, is one of the most vital pieces of heavy music this year. Chomping from the fringe as artists mutating the look and sound of the modern punk community in both its vantage point and a forward-thinking clash of style, the Philly four-piece’s latest offering slams like a poetry of Pierce Jordan’s own Black American experience through a rapid scene-changing stream of conscious, as the five-track listen surges in with adrenaline junky hardcore before recoiling into noisy raptures, then back into bulldozing mode before. What’s left behind is a sludgy pile of bones and guts that will surely be used to reshape the scene from here on out.

Sparta - Trust the River [Dine Alone Records]

Between the band’s 2006 effort Threes and their return in Trust the River, Sparta’s Jim Ward has ventured off the beaten path with his songwriting by delving into folk and indie rock with his other projects under his own name and the band Sleepercar, respectively. Some of those homegrown hints have seeped into Sparta’s water on their first album in 14 years on what is a fitting return to ground-level after gravitating far above the horizon for so long in the band’s early catalog. Trust the River communicates with these times’ political landscape as well as the complexities of our own personal relationships in that way where Sparta’s roughened melancholia can feel like a faded picture. This time, it’s easier to see the faces from down here on Earth, and they’re wearing heavy emotion.

SPICE - SPICE [DAIS Records]

There are five members in the pan-Californian band SPICE who’ve contributions lay equally on the surface of their eponymous debut album’s crackling, rocky complexion. At its epicenter of those fault line is most notably that of vocalist, CEREMONY frontman Ross Farrar alongside fellow CEREMONY drummer Jake Casarotti, bassist Cody Sullivan (No Sir, Sabertooth Zombie), guitarist Ian Simpson (Creative Adult,) and violinist Victoria Skudlarek. The collective’s “deliberate isolation of pain” through a fascia of hardcore and indie rock channel themselves through in non-stop urgency that makes for one of the year’s most rewardingly thrill rides in anxiety-riddled head charges and whirring melodies. Pop-induced, billowing in the air, and heavy like a pile of bricks at once, and when all of these elements atomize onto one slab, we hear how pain even in isolated form comes in many forms.

Sprain - As Lost Through Collision [The Flenser]

Sprain’s As Lost Through Collision is an album that will test your patience. Across seven tracks in super-length spans, the listen lingers, reawakens, and stretches out time to defy the space is consumes. Alex Kent and April Gerloff, who early on the band’s catalog sought to realign elements of slowcore and post-hardcore in a meditative sense, now have piled on a heavier rig of louder influences pulling from the Flenser universe of black metal and post-rock, with the addition of second guitarist guitarist Alex Simmons and drummer Max Pretzer assisting in the moving of concrete walls and steel beams in their sound. Whatever they are building, they eventually redesign or break down, leaving your bereft in its glum.

Touché Amoré - Lament [Epitaph Records]

Touché Amoré’s fifth studio effort Lament is a duality in natural evolutions for the Los Angeles post-hardcore band. In one respect, it deals with the fallout of grief laid bare on the band’s 2016 album Stage Four and in learning to coexist with those emotions, for better or for worse. In another, the listen marks another seismic shift in pushing the boundaries of their progressive hardcore sound into bigger, more ambitious territories with the help of veteran rock producer Ross Robinson, who has guided genre classics by everyone from Korn and Slipknot to the Blood Brothers and At the Drive-In. In giving themselves a larger arena to shout into, there still is no ceiling too high in sight for how far Touché Amoré can climb out of life’s murk.

Thou & Emma Ruth Rundle - May Our Chambers Be Full [Sacred Bones Records]

Emma Ruth Rundle’s manifestation of doom unfurls naturally through knots of haunted folkwork and sludgy feedback, while the heavy experimental metallic atmosphere of Thou has proven to have a way of melding itself around whatever surroundings its thicker air seeks out. On May Our Chambers Be Full, a collaborative effort between the two forces in metal, the two build a monument for the human experience’s polarities in its joyous desperation and immense sorrow through a sound formed in grungy pits and sky-scaling alternative anthemry. If this one feels like it’s tearing every emotion straight from the chest, it’s only because Emma Ruth Rundle and Thou have a natural sense as to where they beat most heavily.

Truth Cult - Off Fire [Pop Wig Records]

Truth Cult is breaking out of the Baltimore hardcore scene with their debut full-length Off Fire, released fittingly on local scene label Pop Wig Records (the label ran by members of Turnstile and Angel Du$t.) Its membership is familiar with spaces that form pits, as it collects members of Give, Pure Disgust, and Red Death, and their sound touches on the gruff post-hardcore rumblings of its surrounding environment. For context, they’ve opened for Lifetime, and have a very Dan Yemin-like energy to their sound that deadlifts a weight similar to what Paint It Black and Open City are throwing down. Off Fire is similarly politicized and swings hard, but that takes nothing away from the melodic gravity of the LP in a way that hears Truth Cult’s sound living up to the elements of its title.

Uniform - Shame [Sacred Bones Records]

Shame, the third studio effort from combustible Brooklyn industry noise torchers Uniform, sets out to rid the self of that which destroys us from the inside out. What’s different about this beastial incantation from the trio’s past releases is how it much raw the internal wounds look on the surface, as the album unburdens itself of conditioned self-hate and constructs a effigy for all that pain to set into flames. It’s a self-immolation of the soul in which frontperson Michael Berdan screams through the smoke, his voice often engulfed and dissipated in a razor burn of guitars and fuel-doused drums. To free themselves it all, Uniform sees no other way out beyond setting themselves on fire -- and burn gloriously, at that.

War On Women - Wonderful Hell [Bridge Nine Records]

Wonderful Hell was released days ahead of this year’s critical presidential election, and War On Women had a concentrated reason as to why: The rallying cries and calls for action hurled into the masses by Shawna Potter made for one last push of resistance against these last four years. Now that we’ve overcome the first hurdle, the Baltimore punk band’s third album serves as a reminder as to how much more work there is to be done. Their agenda hasn’t changed all that much since 2017′s breakout Capture the Flag – defeat fascism, fight for equality for both women and the marginalized, make misogyny and any form hate extinct – and they’ve sharpened the edges of their razor-backed melodic punk anthems here to make their ultimate end-game clear.

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mxbitters · 4 years

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Do you have any band recommendations? I’ve been trying to get more into the punk and/or emo scene more so I’m looking for some new bands.

AHA! yesyesyes i will share bands with you :)) this is gonna be wordy so i’m sorry--

taking back sunday! they’re from long island, i’d consider them an emo band even though they’re a little hesitant about the label. they started up around the same general time mcr did, same general scene too. their first album tell all your friends is absolutely kickass and is great for laying around and listening start to finish. however individual songs i’d recommend are timberwolves at new jersey, great romances of the 20th century, a decade under the influence, you can’t look back, and of course makedamnsure and cute without the e :)

saves the day! another new jersey emo band formed in the late 90′s, i won’t lie i’m so biased everybody says through being cool was their most influential album, one of those landmark emo albums, but for me, my favorite album is their first one, can’t slow down. from that one my gateway was the song jodie so i think that’s a good place to start!!

ok stepping away from new jersey, more recent bands, i’m like legally obligated to mention sorority noise because art school wannabe is a song by them. they’re from my state and actually one of them went to the same (art) school i did!! aside for that song, i’d really recommend dirty ickes, using, and mononokay. but with those last two songs and blonde hair black lungs just be careful because they can be kinda triggering, their singer is pretty open about his struggles with depression, drugs, all that, so i should mention that. they are on hiatus i believe at the moment but like they’re still an incredible band, and they’re AMAZING live.

modern baseball!!! they’re a fucking classic, they’re from philadelphia (ok ok maryland at first if you really want specifics), and they’re about as emo as it gets. they’re also on hiatus, or split, i don’t really know and it’s kinda sad but regardless they’re absolutely incredible. my gateway was tears over beers, i’d also recommend the weekend, fine, great, your graduation, and all the other songs i’m suddenly drawing a blank over.

ANOTHER philly band but this one’s technically punk, kinda emo (in my opinion) and deserve every ounce of your attention. this one’s the menzingers, and they are absolutely PHENOMENAL. perhaps this is just my band friends converting me into somebody who will eventually have a shrine specifically to their album on the impossible past, but regardless oh my god listen to them. i’d give you recommendations but the ones that pop up immediately are the opening and closing songs of that album. just listen to on the impossible past tbh.

okay we’re going into more punk bands,, umm,, AGAINST ME!! they started up in gainesville, relocated to chicago, you want anarchist punk? against me! is the band. you want a trans punk role model?? laura jane grace, i swear, she’s your person. i have her memoir, i also saw them live front row and probably did way too much pointing because i’d never been to a real punk show, nevermind front row at the most crowded punk show on earth right before the tour got cancelled due to covid. songs?? oh god there are so many. baby, i’m an anarchist is such a classic, pints of guinness make you strong is so good too, thrash unreal, borne on the fm waves of the heart, i was a teenage anarchist, transgender dysphoria blues (the album and the song, this was after laura came out), true trans soul rebel, crash, white people for peace, and like every song i don’t know by them because i did not know half the lyrics at that show tbh. they actually played something new but i genuinely cannot remember it :’)

ok back to more emo bands uh remo drive has been like blowing up these past few years and honestly? good for them. anything off greatest hits (ironically their first album) is excellent, i haven’t really listened to tons of their new stuff. but i’d recommend hunting for sport, yer killin’ me, strawberita, name brand, eat shit, i’m my own doctor, okay that whole album really. i also really like the grind :) they just released a whole new album, portrait of an ugly man, i haven’t listened yet though

here’s a mouthful, the world is a beautiful place and i am no longer afraid to die, they’re from willimantic ct, (aka my state and the town i’m going to college in haha) and are like? a nine piece band that kinda switches out for shows, which is kind of wild. they are so unique in emo because you don’t usually see THAT much variety in instrumentals. like you got the front bottoms with their trumpet or whatever but that’s not even close to what twiabp pulls off. i can talk all i want but it’ll never truly do them justice. listen to you can’t live there forever, and here’s a video of them playing heartbeat in the brain live!!

there are definitely a shit ton more than this but i’m gonna have to get up so i’m gonna leave you with that for now :))

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sagehaleyofficial · 4 years

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HERE’S WHAT YOU MISSED THIS WEEK (10.30-11.5.19):

NEW MUSIC:

· Fresh off the release of their latest album NINE, Blink-182 joined Goody Grace as he bared his heart on his new song “Scumbag.” The release marks the second this year for Grace, who dropped “Wasting Time” in July.

· Earlier last Wednesday, Tom DeLonge took to Instagram to share a short teaser video of some new Angels and Airwaves music. The band dropped their track “Kiss & Tell” back in the summer, and now fans received a new music video for the song.

· To celebrate what was his favorite holiday, Lil Peep posthumously released his highly anticipated EP, Goth Angel Sinner. Originally announced in October 2017, the genre-bending EP is accompanied by the release of an official music video for the track “When I Lie.”

· PUP’s latest music video endeavor involved the band bringing their song “See You at Your Funeral” to the afterlife. Directed by Joe Stakun, the music video features the band members as various spooky characters.

· Alt singer-songwriter Skye unveiled his brand new track “Voices,” featuring late rapper XXXTentacion. The powerful new single also features an interpolation of the classic Blink-182 track, “I Miss You.”

· YUNGBLUD’s “Die a Little” made its debut on the season 3 soundtrack of the hit show, 13 Reasons Why, which dropped earlier this summer on August 23rd. Previously, ahead of his debut full-length, he teamed up with Charlotte Lawrence on “Falling Skies” for season 2.

· Rapper Blackbear announced the new song in a new interview with Capital FM, and says it will be out before the end of the year. The special track will feature a collaboration with YUNGBLUD and Marshmello.

· Foo Fighters have been releasing EPs of live tracks, covers and demo songs for the past few months and returned with yet another. The latest and seventh overall EP, 02050525, saw the band covering Jawbreaker and the Passions, as well as three demo tracks.

· Panic! at the Disco released their new song for the Frozen 2 soundtrack, “Into the Unknown.” While Elsa herself, Idina Menzel, performs the track in the movie, P!ATD recorded their own version for the end credits.

· Billie Eilish said in an Instagram story video she posted over the weekend there will be two new tracks coming shortly, as well as a new music video for her track “Xanny.” The musician didn’t give a timeline for the new songs or video.

TOUR ANNOUNCEMENTS:

· Twenty One Pilots were forced to postpone last week’s show in Salt Lake City due to unsafe conditions as a result of weather. Slated to perform at the Vivint Smart Home Arena, snowfall and slick roads made them unable to make it to the show on time.

· Motionless in White and Beartooth announced a co-headlining tour last Tuesday. The Diseased and Disguised Tour, which is inspired by each band’s most recent release, will kick off in January, with support acts and additional dates to be revealed in the coming weeks.

· Green Day played their third studio album, Dookie, in full during an intimate one-off show in Madrid last Wednesday. Celebrating the 25th anniversary of their breakthrough album, the band also added an additional 12 songs to the setlist.

· Poppy performed two songs live on WWE‘s NXT last Wednesday. Rocking the house at Full Sail University, she opened the show with “I Disagree” and escorted wrestler Io Shirai out to the ring with “Scary Mask.”

· Last week, Emo Night Phx celebrated Halloween with some incredible performances and resident DJs, including one from Jonny Craig, who took the stage to perform an Isles and Glaciers track. Prior to this, a rough demo of “Clush” was originally released in January 2009.

· After much teasing from the band members, Creeper finally made their return to the stage one year after breaking up. The band performed an intimate gig at Club 229 in London, debuting their latest single “Born Cold.”

· After a few days of speculation at a new tour, Sleeping With Sirens unveiled their next round of dates. Set It Off, Belmont and Point North will be joining the band on the Medicine Tour in January.

· Poppy announced the I Disagree U.S. Tour, inspired by her upcoming album of the same name. Kicking off in late January in San Francisco, the dates run through February just prior to a previously announced U.K./Europe tour in March.

· Grayscale revealed their Nella Vita North American Tour Part II 2020 tour dates. Hot Mulligan, WSTR, and LURK will join them on the run, which kicks off in January in Wilmington, Delaware.

OTHER NEWS:

· SWMRS guitarist/vocalist Max Becker was sent to the intensive care unit and is now in a rehab clinic following an encounter with black ice in Denver. Two touring crew members, Natalie Somekh and Josh Berl, were also injured in the van accident.

· Arizona-based alt act Halocene shared a 12-minute video outlining why they believe The Masked Singer Australia ripped their arrangement (which includes an original riff) of the Billie Eilish mega-hit “Bad Guy.” The band first shared their cover in April.

· In the latest issue of Rolling Stone magazine, Green Day vocalist Billie Joe Armstrong sat down with Billie Eilish for a special “Musicians on Musicians” issue. Eilish expressed her love of Green Day while Armstrong shared his admiration for the 17-year-old artist’s music.

· Filmmaker/actor Kevin Smith recently joined Joe Rogan on his podcast, “The Joe Rogan Experience,” for episode #1372. While there, he helped confirm that Rogan is a cousin of My Chemical Romance’s frontman and bassist, Gerard and Mikey Way.

· Taylor Swift recently joined scene royalty at the self-described “most emo dinner party” alongside Fall Out Boy’s Pete Wentz and Panic! at the Disco’s Brendon Urie. Swift hit Beats 1 with Zane Lowe, where she discussed the event.

· At 2 p.m. ET on Halloween, activity began on a new Instagram account for My Chemical Romance. An hour later, the band triumphantly marked their return to the scene by announcing a return show on their Instagram, which sold out instantly.

· After almost a year’s worth a teasing and a six-episode series on YouTube, the Shane x Jeffree Conspiracy Collection officially launched. The long-awaited collab of the two YouTube megastars, the launch broke both Star and Morphe’s websites in the process.

· Actress Kristen Stewart played host to this past weekend’s Saturday Night Live episode, donning iconic Hayley Williams hair and singing the pop-punk parody, “Corporate Nightmare.” The (real-life) Paramore frontwoman later saw the skit, and took to Instagram to create the perfect memes.

___

Check in next Tuesday for more “Posi Talk with Sage Haley,” only at @sagehaleyofficial!

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orriculum · 5 years

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so you like My Chemical Romance, huh? me too

oh man. i uh, actually narrowly missed the scene/emo/punk music movements of the aught’s because i lived that no fm radio/cabletv/internet childhood.

i mean, i wish i’d been able to experience it, looked like everyone had a lot of fun with it.

…and that’s kind of a weird and long way to explain that i’ve heard of them but i’ve never really listened to them. sorry lol

#aliaitee #asks

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semercury · 4 years

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5, 13, and 14??????

5. Where did you draw inspiration from?

for fm(n) it was mostly my love of angst and realistic/well written love triangles (because they can be good if they’re done well, everyone else can fight me on that hghfds). i have been wanting to write a hanahaki au for a looong time, and i finally came up with the right characters to use that for.

as far as everything else, lighting strikes at random times. music is usually a good source of inspiration, bc i tend to imagine characters when i listen to music, but i’ll even get ideas from reading other things or watching movies or literally anything. i know there’s a long fic i want to write that was heavily inspired by this other long fic i read. and of course just bouncing around ideas on discord with friends. art other people draw... literally everything lol!!

13. Are there scenes that you cut already?

there was a fourth flashback scene that i cut before i even wrote it because i didn’t vibe with it. it wasn’t necessary, and i decided that i don’t need to have a cohesive and predictable pattern for what chapters have flashbacks (tho mei pointed out that technically my flashbacks now follow the fibonacci sequence, so i’m going with that hghghfds). but generally i don’t cut whole scenes. there’s so much planning i do mentally before i write stuff that things get placed carefully and i need every scene i write. i’m sure this will change if i grow and learn more, but for now i’ve never really cut a whole scene in anything lol!!

14. Tell us about an upcoming scene in your WIP, that you’re excited about.

so fm(n) is all written, i just need to edit it more, so i’ve got all those scenes. but there’s a fic i had started a long time ago just bc i was playing around with ideas, and i want to expand on it, and i’m excited to write a scene where a certain weird girl explains to the prep boy who likes her just why her favorite animal is her favorite. (close friends know the context, but i’m being vague bc hghghfhdhsh it is my character flaw.) it’s gonna be a somewhat sad scene, and i love writing those emo scenes.

there’s lots of other scenes for various other ideas that i’m itching to write, but most of those aren’t technically wips so much as ideas i’ve never started lol.

#ask #yanna banna

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erisgregory · 5 years

Text

You Were In The Darkness Too, Ch. 2

cross posted to AO3

or start with chapter one

Rating: Teen Archive Warning: No Archive Warnings Apply Category: M/M Fandom: Roswell New Mexico (TV 2019) Relationship: Michael Guerin/Alex Manes Characters: Alex Manes, Maria DeLuca, Michael Guerin, Various Manes Family Members Additional Tags: Fake/Pretend Relationship, Fluff and Angst, Family Reunions,

Homophobia

Summary: Alex has to go to his family reunion, but between his father and all the well wishing matchmakers, Alex really needs a date. A boyfriend, to be exact. So he asks Michael, which is either the best idea in the world, or the worst.

The drive from Roswell, New Mexico to Wichita Falls, Texas was almost six hours, so they would arrive at the reunion at around one if they stayed on course. And Alex definitely panned to stay on course. The cooler could tide them over till lunch which they would eat when they got there. He hadn’t been to his aunt’s house in years, but he had to admit there were a few people he was looking forward to seeing.

Michael was quiet in the beginning as if he weren’t very talkative first thing in the morning. He didn’t say a thing when Alex turned on the radio and found a Fall Out Boy song to listen to. He just looked out the window for the first thirty minutes or so sipping the coffee that Alex had brought him. By the time they came to Lea County Michael was sitting up straight in his seat and looking a good deal more alive.

“Not really the morning type are you?” Alex asked him.

“I know how to get up early, but I’m not crazy about it. Even after years of working on the ranch.” Michael admitted.

That made sense to Alex. He hadn’t always been a morning person, but the Air Force had changed that. Now he rose with the dawn whether or not he had an alarm set. It just became a part of who he was, like making his bed first thing in the morning and keeping his boots polished. He’d thought about relaxing some of his regimen, but then it hadn’t felt right, so he just kept it up.

He was trying to picture what Michael might have done on the ranch and he couldn’t quite see it in his head. Not without more information. “What did you do, when you worked on the ranch, if you don’t mind my asking?”

“I don’t mind.” Michael told him. “I was a ranch hand so it really depended on what time of year it was. Odd jobs here and there mostly. Probably what you’d imagine. Working with the horses and cattle. Keeping the ranch running. Fixing things that were broken. The usual.”

Alex could picture it now. Michael really was a cowboy. The real deal, too. A part of Alex wished he could have seen Michael at work. On a horse, his cowboy hat pulled low to keep the setting sun from his eyes.

“You’re picturing some movie scene cowboy shit right now, aren’t you?” Michael asked, breaking him from his train of thoughts and completely catching on to what he’d been imagining.

“Maybe.” Alex said, a smile twisting at his mouth.

“It’s not glamorous, by any means.” Michael said. “But I liked the work. Kept my hands busy.”

“Do you miss it?” Alex asked softly.

“Nah.” Michael said. “It’s nice to set my own schedule for a change. Choose which jobs to take and which to pass on.”

“I see.” Alex said. He wouldn’t know about choosing jobs or setting his own schedule, he was still pulling desk duty for the Air Force and it looked like that might be his lot in life, at least for now.

The fell quiet again for a while, until Michael finally spoke up about the music. “I’ve been enjoying this walk down memory lane, but I don’t think I can take any more emo alternative shit right now.”

“Is that so.” Alex laughed shocked by Michael’s tone of voice.

“Yeah, we need to expand your horizons a little bit.” Michael told him.

“And just what do you have in mind?” Alex asked, curious.

“Spotify.” He said, holding up his phone. “Where’s the adapter go?

“Did you make a playlist for the drive?” Alex guessed.

“Of course.” Michael shrugged.

Alex laughed. “Okay, it goes here.” And he pointed low on the dash where the adapter plugged in. Then he switched the from am/fm to auxiliary.

Michael plugged in his phone and reached to turn the volume up, causing Alex to laugh again.

“This better be good.” Alex warned.

Michael shot him a grin before hitting play on his phone. The first song was clearly country, Michael said it was Eric Church, but then he promised the playlist wasn’t all country so Alex stuck with it. It was actually really good, had a great beat to drive to.

The playlist lasted them all the way to the New Mexico/Texas border. They listened to Rage Against the Machine, Matt Nathanson, Little Big Town, The Sex Pistols, and Muse. At the border Michael pulled up George Strait and together they sang Amarillo By Morning, despite the fact that they were heading to Wichita Falls. It was hilarious, Alex couldn’t even recall how he would have learned the song. Probably his mom.

They got out a rest stop to stretch and to switch places. The air was warm, but the breeze was fresh and cool enough that it wasn’t uncomfortable. Alex pulled out the cooler and they sat at one of the drab little picnic tables eating grapes and cheese and drinking cold water. It was then that Alex realized he’d forgotten the hard part that was coming up. He’d been so distracted by the good music and Michael’s company that he’d stopped thinking about having to see his family.

Granted there were a few people he’d be happy to see, but it was a chore more than anything else. Even with Michael there as a buffer, and wow, thinking about that made him think that maybe they needed to talk about what being together might look like. What it would look like and also what boundaries they wanted to have. They definitely needed to talk boundaries.

“What’s got you thinking so hard over there?” Michael asked.

Alex offered him a tight smile. “While we’re here, I thought we should talk about what being boyfriends will need to look like and maybe set some boundaries.”

“Well, what do you think it should look like?” Michael wanted to know.

“I’m not sure. Things like holding hands or offering to help each other, get things for each other.” Alex began.

“What about kissing? Boyfriends kiss.” Michael pointed out.

Alex had to think about that. “Not on the mouth.” He said eventually.

Michael raised his eyebrows at that. “Okay.” He said. “This is your dog and pony show.”

Alex huffed a laugh. It certainly was, he thought.

“Anything else?” Michael asked him.

“I think terms of endearment are okay, but nothing gross like baby or sugar. I can’t picture you calling me anything but Alex, but if you have to try to make it believable.” Alex told him.

“Fair enough. Sweetheart.” He teased. Alex just rolled his eyes.

“What about you, do you have any limits we should add?” Alex asked.

“No, I think we’ve pretty much covered everything. Except what if you need to leave or can’t take any more of someone’s company. Should we have a code word?” Michael asked him.

“I don’t know, probably. You’re just as likely to need to leave as I am.” Alex said.

“Okay, then what’s our word? Something we wouldn’t normally say.” Michael said.

“Okay, how about Star Wars?” Alex asked.

“You are such a nerd. Are you sure you’re not going to be talking about Star Wars at some point this afternoon?” Michael shook his head at Alex.

“Fine, you pick a word.” Alex told him. He downed the rest of his water bottle and then narrowed his eyes at Michael wondering just what he was going to come up with.

“Alright.” Michael said, wiping his hands on his jeans. “How about, daisy? It’s simple and neither of us are likely to bring it up in casual conversation.”

“Daisy? Okay. Daisy it is.” Alex agreed with a laugh.

They finished their snack and headed back to the car where Alex passed over his keys. “This is my baby.” He said. “Go easy on her.”

“Don’t you worry.” Michael said with a laugh.

They switched back to Alex’s music for some Green Day and Panic! At The Disco, there was some Better Than Ezra and The Eagles, which they both agreed on.

Sometimes they sang along and sometimes they were quiet. It was a companionable silence though, one that gave Alex time to think. The road continued to stretch on ahead of them, though they were more than halfway there when Alex said, “We should get our story straight.”

Michael turned the radio down. “Like how we met, started dating? That sort of thing?”

“Yes.” Alex said, worried now for the first time about how they were going to pull this off.

“Okay, that’s no big deal, we just tell the truth. Your dad’s going to be there, right? He’s gonna know the truth for the most part, so we stick to that and maybe even mention our on again off again tendencies.” Michael suggested.

“Okay, yeah, okay.” Alex said.

“Hey, listen, we’ve got this, you don’t have to worry.” Michael told him. “Don’t go getting your panties in a twist over nothing.”

“My panties are fine. I’m just concerned that we come across as believable. Even to my father. He’ll be on the lookout for anything out of the ordinary.” Alex explained.

“We will, we just have to act like we’re used to being out together. You need to get in the right headspace for that.” Michael told him.

“Me? Why not both of us?” Alex wanted to know.

“Because I never had a problem being in public with you, but you--” Michael tried to explain but Alex cut him off.

“Got it. Yeah.”

“I don’t mean to piss you off, I just want you to think about it. This isn’t just Isobel, this is your whole family. And I’m fine with that, but are you sure you are? We don’t have to go through with this, you can drop me off somewhere and pick me up after.” Michael offered.

“I am. I have to be.” Alex said.

Michael sighed but reached to turn the music up again. “Okay, just checking.” He said softly.

They arrived at his Aunt Brenda’s house at 1:20 pm and Alex was officially nervous. He turned off the car and took a deep breath, turning to Michael. “Ready?” He asked.

“Ready.” Michael told him.

Together they walked into the house hand in hand in silent agreement, and headed for the backyard, following the sounds of children laughing and general gaity that Alex just wasn’t feeling. Michael gave his hand a quick squeeze as they walked back out into the sunshine, and that was the only thing that could have made Alex feel better just then.

#malex #malex fics #eris writes fics

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radiosdevil · 5 years

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Okay so I wasn’t entirely kidding about Voodoo King of Scene Alastor being a guest star on this blog since I’ve been thinking about him since Friday night and itching to draw him. But since I’m moving around out west and not getting a ton of down time to do so, I’m info dumping random stuff about him on here in the meantime!

You know how you go to a Punk Rock show or festival and you come across these guys and gals who are well into the Middle Age category yet when you look at them you just know that they haven’t adapted to the genre but rather they’ve always been power houses and the genre just built up around them? Yeah that’s this Alastor.

Voodoo King of Scene Alastor’s favorite music genre is still jazz and swing, but he has also added more to his preferred music stylings including dub step, electro swing (no surprise there), punk, emo/goth, hard core, hypnagogic pop and just hypnagogic music in general, and others (haven’t narrowed others down just yet).

His outfits have also changed with his main, formal style being the black ensemble of dress shirt (with sleeves rolled up most of the time), vest, belt, pants, and converse sneakers with a blood red tie. He can and will sometimes wear just a tie shirt or short sleeved dress shirt and black pants with either the converse sneaks or boots but that’s more for ‘Casual Friday’ like events.

I kinda like the idea of him wearing a small ponytail too. (Shout out to whoever started Alastor with a ponytail trend!)

His body-sans head and top half of neck- is covered with markings matching the sigils the other Alastors pull out when displeased or threatening others, and more. In his case, the markings actually lift up off his skin and glow in the air when he is displeased or threatening. Some marking will also move on their own on his body and can cause damage to others. (For example, snake markings can slither on his skin and bite someone touching him, leaving actual damage.) The markings can glow while still in his skin as well, and will glow under a black light. (He’s under black lights a lot.)

One major part of his aesthetic is the neon, glowing colors and such you’ll see when putting certain paints and colors under black lights. He’ll paint a decorative skull design on his face that will only show up under a black light when attending a joint/scene/rave in part to appear threatening and in part because he’s a dork.

He’ll jump around with the slang he uses ranging from the 1920s to modern day with the two mentioned being his most used.

Voodoo King of Scene Alastor has adapted quite wonderfully to the developments in modern technology. He regularly broadcasts in FM, AM, XM, and has his own Podcasts too! He’s even moved into the areas of video making/vlogging and- just like with his radios and such- has learned the ins and outs of all technology he uses so he can trouble shoot and build his own and correct any problems he encounters. As such his powers have branched out beyond radios and sound based abilities, plus the nature ones from Voodoo and other religions he’s studied, to visual technology, programming, electrical surges, and.... Yeah, humanity’s doomed in his reality. Just accept it. You’ll feel better.

He also creates his own hypnagogic music and regularly will broadcast it, either as a place holder between segments or as part of the music collection. Those in Hell who are strong willed tend to find themselves coming down with headaches and a paranoid sense that someone is trying to break in around them-even if they’re in open spaces- when his music is played. Weaker willed individuals enter a trance and often times the more susceptible ones will never leave said trance. (This Alastor never wants for ‘assistants’ or ‘help’.)

This Alastor also is totally the one who waits all night outside Ikea until it opens and then racing through the store screaming like a Banshee solely for this product, of which he bought five. He also is the one who will randomly carry one around and cuddle it all day while also randomly attacking people with it and beating them unconscious while yelling ‘SNARKNADO!’

Voodoo King of Scene’s ultimate goals aren’t the usual ‘take over Hell’ ones other high rollers in Hell go for. If he learns that is someone’s goal, he’ll actually laugh at them and state that ‘Taking over Hell is too easy. You need to think bigger!’ His goals are more.... Extreme. He wants to gather a massive army of brain washed followers in Hell before ascending back onto Earth and repeating the process there before breaking into Heaven and overthrowing God. It’s not that he wants to rule or take over and rewrite the rules of the universe, but just... He loathes the current system and feels its very unfair to anyone who’s not... well, God. Plus, he wants the bragging rights and is stubborn. The second this goal popped into his head, he was like ‘NOPE I am making this happen! EVEN IF IT KILLS ME!’

That goal was why he approached Charlie in his reality; to see if her idea would work at all, gather more brain washed soldiers, and if it did work, see if he could play the system and slip into Heaven and if not at least Earth.

He also isn’t as affected as my main Alastor on this blog with the love phobia. He doesn’t have a flight-or-fight reaction kick in when just hearing the word, or even if someone is romanitically flirting with him. He’ll even jokingly flirt back. BUT actually allowing anyone to get that close does terrify him still and he will never actually back up anything he says.

#'media is always evolving and we must evolve with it!' (Voodoo King of Scene Alastor)#musings #guest host for tonight's show!

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avaliveradio · 5 years

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5.20 New Music Monday Playlist on AVA Live Radio

Explore some exciting new music from creators all over the world recently discovered by our host Jacqueline Jax as she searches the far corners of the globe for talented songwriters and music creators who are telling their truth to bring the listener a unique experience. From dealing with hate to sounds that will inspire you to get up and dance or help you feel better about yourself, this show offers everything for fans of New Music from Hip hop to R &B styles as well as Alternative rock favorites.

Listen to the show across all broadcasts.

The Anchor Fm page: https://anchor.fm/ava-live-radio

iHeartRadio station page : https://www.iheart.com/podcast/269-AVA-Live-Radio-Musi-29336730/

The Spotify: https://open.spotify.com/show/2toX0f3dPmI8gmUSOKZicx

Artist: Ugly Melons

New Release: "You want More"

Genre: Rock

Located in: Canada

The song is basically about the problems that arise when you act selfishly, and never think of others. There is a price to pay when greed is your only motivation. The price is not only paid by others that you have taken from or hurt along the way, but by the individual who has acted only with their self interest in mind. Material success never really leads to happiness, and that is something that anyone that has achieved any level of monetary success will tell you. Be a good person, help others, and realize that 'more' isn't always a good thing.

Toronto, Canada… We are in Toronto Canada , The live music scene is not what it used to be ,but it’s still alive and working ,its Toronto the small New York we keep fighting and have hope just like we keep fighting and hoping for the Toronto maple leafs to win the Stanley Cup lol

Social Media:

Music Video: https://www.youtube.com/watch?v=42Q2HbxK6CA

Facebook: https://www.facebook.com/uglymelon/

Instagram: ugly_melons

Twitter: https://twitter.com/Ugly_Melon

Artist: After Aristotle

New Release: Episodes

Genre: Rock, Alternative, Indie, Emo

Located in: Austin, Texas, United States ’Episodes’ is an introspective journey into trying to understand and overcome struggles with depression. The instrumentation of the song echoes this feeling with wailing, emotional guitar leads and driving bass and drums. We hope that listeners will hear this track and find some kind of comfort in knowing that it's okay to not be okay.

The music we are creating is... Our next EP has taken a journey into self criticism and understanding, while also exploring a lot of new directions musically. We took this second album as an opportunity to open up and just express what we felt both as people and musicians. The instrumentals range from shoegaze to heart-pounding punk rock and articulate emotional ideals that we all deal with daily. This album is all about self discovery and being open to whatever feels right and we're just lucky to share those ideas with our listeners.

Right now we are... preparing to release the new EP, "Ghost to Ghost" and also going on tour June 16-22. We'll be visiting several south/central Texas cities and releasing the album on all digital platforms June 14th. We really can't wait to share all the new music!

LINKS: Spotify Link to "Episodes": https://open.spotify.com/track/3FpNOstehQlAQYdDwrXao3 Twitter: @After_Aristotle Instagram: @after_aristotle Facebook: facebook.com/afteraristotle

Artist: Tough On Fridays

New Release: Little Italy

Genre: Rock: Alternative Rock

Located in: Georgetown, TX

Tough On Fridays is a rising alternative rock duo from Georgetown, Texas. Comprised of best friends Katie and Caleigh, the two have turned their shared passion for music into an exciting blend of pop and rock sounds! Inspired by iconic alternative bands like Paramore, Green Day, Basement, and Nirvana, Katie and Caleigh work together to bring a refreshing new sound to the alternative rock genre.

The band’s unique attitude and exciting new sound have garnered serious attention from fans everywhere. As one of 10 songs recorded, the recording of "Little Italy" further defines Tough On Fridays sound as something unique. While many reviewers have tried to categorize the band, the one thing they seem to agree on is that Tough On Fridays, with their edgy, hooky, anthemic songs, may have the ability to bridge the gap between rock and pop in a way that hasn't been done in some time. They refuse to be categorized as a "female-fronted band" as these two can write and play every bit as well as the boys. They have the look, but refuse to let that be the stepping stone that takes them away from the music.

Right now... Tough On Fridays just reached its initial crowdfunding goal to fund the recording of an album in 2020 with the help of a contribution from a local radio station.

LINKS: https://www.reverbnation.com/toughonfridays/song/30698131-little-italy https://open.spotify.com/track/19ljJUXcw6D91AkxCZNDKf?si=SSJqc9XPRg6QF3hXp0qV5A https://www.twitter.com/toughonfridays https://www.facebook.com/toughonfridays https://www.instagram.com/toughonfridays

Artist: Joshua Flores

New Release: Give Me Some Time

Genre: Pop

This is a kind of upbeat pop song that was influenced partially by Lauv and his style. I wanted to write a kind of positive song that people could feel good about when they listen to it.

I've been writing more music and making more song lately so people should be seeing more of my music out there soon.

LINKS: https://www.instagram.com/joshuafloresmusic https://www.facebook.com/OfficialJoshuaFlores https://twitter.com/joshuafloresmus https://open.spotify.com/artist/0zffiMLhptfUW8AXmMDDXH

Band Name: FAKKEN

Song name: Si Meg

Music Genre: Hip Hop

I live in... Norway

Link to play: https://open.spotify.com/track/5JfVmnAJiZMqolL6uspjUy?si=uaC42_G-SsCtnk7O9vYkeA

Music is my life, it’s my job, my hobby, my love. and what inspires me. I work hard work hard at it and am dedicated to the vision. This is what I do, I make emotional Rap with real lyrics straight from the heart. My music inspires people through hard times, I made this song after my 4th best friend died of a overdose. It’s meant to touch on that question, Why people give up? What drives me is all the people that tell me I have saved their lives with my music. The music business is hard, no doubt but all the work I put in has paid off over time.

Website & social media links: https://www.facebook.com/FakkenMusic https://www.instagram.com/fakken_offisiell https://open.spotify.com/artist/0ZbBWXNJTyB5IaUWg4TSWY?si=KYDJXVc9QP-3EFryeY3-lQ

Artist: NOVA

New Release: Electrocute

Genre: Jazz+Funk

Located in: Los Angeles

A culmination of all the musical genres that have ignited my passion for music in the very first place. I think I will look back and think of this song as one I HAD to produce in order to move on to other things. It's the most reflective of my artistic voice. I grew up loving all forms of music, but I've always been partial of music that can make you move. Genres that were energetic by nature (Jazz, Funk, & Hip-Hop) have always had a soft spot in my heart. Electrocute is the one track on The Jazzmen Invasion that combines all 3 of those genres & applies them to their fullest effect. In it, I channel 1/3 Eminem, 1/3 Prince, & 1/3 Frank Sinatra; a blend that could be hard to swallow. I always tell people my genre of music is neither jazz nor funk, it's Jazz+Funk. So I see that a lot more songs in my future would build off of the Electrocute formula.

Currently… I've put together an outfit of wonderful musicians who I've reached out to help me re-interpret the music on the EP to a wider live audience. We are Funk Sway, the driving force of the Jazzmen Invasion. With a band of musicians that I trust to carry out my vision with me, new music, & subsequently, new music videos, social media content, etc. will also be inevitable. I am working on building the NOVA movement one song at a time.

LINKS: iTunes link: https://itunes.apple.com/us/album/the-jazzmen-invasion-ep/1462599764 Spotify link: https://open.spotify.com/artist/2J3IK4VbcSzekqpZIoBlre?si=WQjt7LgpS8qEqNTCI8iI5Q Facebook page: https://www.facebook.com/NOVAguitar Instagram page: https://www.instagram.com/novaguitar

Artist: Joshua Flores

New Release: I Wait

Genre: R&B

Located in: Corpus Christi, Texas This song is my first attempt to create an R&B song, I wanted to challenge myself and make something that people wouldn't except from me. I was heavily influenced by Khalid and Drake when it came to the vibe of the song with all the harmonies and music production. I will say that I truly express my feelings through this song so I find it very personal and special to me.

This song is important since it's my way of starting to branch out from doing more than just pop music. I've always wanted to do R&B as well and now people will get to see this new side of my music.

I will be moving to Dallas in June to help put my name out there and continue working on some new songs and perfecting my music production and songwriting.

LINKS: https://open.spotify.com/artist/0zffiMLhptfUW8AXmMDDXH https://twitter.com/joshuafloresmus https://www.facebook.com/OfficialJoshuaFlores https://www.instagram.com/joshuafloresmusic

Artist: Sound Machine (Band)/Sunil Bhatia (Artist)

New Release: L'amore

Genre: Electronic Pop Rock

Located in: Mumbai, Maharashtra, India

This is an Instrumental Electronica track with rock elements. It would take one back to the kind of music we used to hear in the 80's and 90's with a College Music kind of feel. Some Electronic sounds have been added to bring a modern day hearing experience. "L'amore" means "The Love" and is found in the Italian, French and Spanish languages.

The music we are creating is... The Music of Sound machine has been varied across Pop Rock, Electronica, Techno and Symphonic Genres and may also be in the category of Thematic Film Background and TV/Drama/Fantasy series. Every track attempts to tell a story as there are instrumental in nature. The artist Sunil Bhatia has been making music for Bollywood and also as an Indie Artist.

Right now we are... Am a Singer, Songwriter and Composer based out of Mumbai. Have also authored a storybook with a poems section too called "My Feathered Friends & the Book of Poems-Part 1" available across online platforms.

LINKS: https://www.reverbnation.com/sunilbhatia/song/30797274-lamore-electronic-rock https://soundcloud.com/sunil-bhatia/lamore-electronic-rock-by-sound-machine https://twitter.com/sunilbhatia https://www.facebook.com/YoursMusically https://www.instagram.com/sonu.sunil.bhatia

#Ugly Melons #After Aristotle #Tough On Fridays #Joshua Flores #FAKKEN #NOVA #Sound Machine

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edienotsedgwick · 5 years

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Ask game. (Tagged by @xxezra-electricxx !!! TYSM <3)

Nickname - Edie kinda is a nickname lmao, that's p much the only thing people call me. But I've had people call me Eads every now and then.

Zodiac - I'm an Aquarius

Height - I don't know, I haven't checked it in ages.

Last Movie I Saw - I don't remember lmao. But if we're talking going to the cinema to see a film, it was a movie called Daffodils that my mum worked on.

Last Thing I Googled - Rainbow Youth peer support meetings.

Song Stuck In My Head - its changed a lot throughout the day, but the one that's been consistent for ages is probably Bad Love by The Aces.

Favourite Musician - I have three for all my current moods rn. When I'm at peak Rawr XD it's (mostly presplit) Panic! At The Disco, when I'm a real emo-emo it's The Promise Ring, when I'm on the rare occasion when I'm not either of those moods it's Queen.

Other Blogs - I have my spammy non theme sideblog @rogerina-says-lesbian-rights , my art sideblog (that you all should follow pleaseeee) @ediemomoart , this inactive blog with no posts that me and my friend were going to make into something, and my blog I'm admining @emo-scene-fm to introduce people to smaller scenecore/emocore bands.

Follower Count - 893

Following Count - I can't find it :(

Hours Of Sleep I Get - I try my best to get at least 8 every night.

Lucky Numbers - I'm just gonna say 444 cuz imma Angel.

Dream Job - y'all know that I really wanna be a singer! However I also plan on doing art (as in like paintings and drawings) on the side.

Favourite Food - Noah fence, but I'd literally implode without two minute noodles. Especially sweet n spicy barbequeue chicken ones.

Language - I only speak English cause I'm uncultured. I tried learning Spanish and Chinese for a bit but I've lost it now, maybe I needa get back on duolingo again Lmao.

Can I Play An Instrument - apart from singing, I can play guitar, ukulele and a little bit of piano.

Favourite Song Ever - my favourite song overall has been But It's Better If You Do by Panic! I have so many good memories from a simpler time associated with it, it's also hella fun and catchy.

What I'm Wearing - I'm wearing an entirely pink coord today Lmao. I'm wearing a pink + black cardigan, a cream mini skirt, salmon pink knee high socks, a pink shirt that says "Brains For Dinner" with a little mummy cartoon on it. And in terms of accessories, a bunch of pink hair clips and a little dinosaur necklace.

Random Fact - I'm just starting to collect vinyls.

Describe Yourself With Aesthetic Things - my emo phase didn't die, it just aged like fine wine, Stereotypical dumb blonde who's secretly a badass, Cheesy old internet gifs, a rainbow shining over a field of wild flowers, every single aesthetic thing from the 80's-2000's mixed into one brightly coloured blob, glittery rainbow angel dancing in a meadow, the odd one out in a small ghost town.

And yeahhhhh! That's it. Thank you @xxezra-electricxx for tagging me yet again. I honestly have no clue who to tag rn. But I'll try and think of some ppl later.

#edie TxT #ask games

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emo-scene-fm · 5 years

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Artist Name: Edie

Genres: Indie Pop, Indie Rock, Emo, Lo-Fi, Pop Rock, Bedroom Pop, Alternative

Similar Artists: The Promise Ring, Park Ave., The Juliana Theory, Bright Eyes, Avril Lavigne, The Hush Sound, The Get Up Kids, November Blessing, ... wait, why do you want other artists? You should be listening to THIS ONE!

Bio: The Scenecore community on Tumblr is something I'm really thankful to be involved with. When I'm not saying dumb stuff, making bad decisions, breaking down and losing what little of my crumbling sanity and emotional stability I have left it's really nice to reblog some blingees of pop rock bands from the 2000s and a glittery Monster Energy Drink logo completely unironically. I feel like there's something really admirable about people trying to revisit the 2000s Myspace Emo-Scene (or scemo, if you will) trend but taking it back and leaving behind a lot of the more problematic and toxic aspects of it. I feel like a lot of good people came together and made a welcoming, friendly community of acceptance. But something I've always hoped would come out of this was someone being inspired by this wave of nostalgia and make something new. We're a massively nostalgia based community. We're nostalgic for old fashion, old bands, old internet trends and old graphics. Hell, even this blog was founded on the idea of revisiting the forgotten emo-scene artists from the MySpace days. That's all fine and good but sometimes you want to see something new, pure, from the heart and completely independent. To be an actual scene revival, we need someone to really revive it. And that's exactly what I found.

Boys and girls, cats and squirrels, meet the musician you've all been waiting for. Edie. This is the music project of @xx-fangz-up-2006-xx who I've been mutuals with for some time now, even back on old accounts of mine as well. Back in May of this year on the 11th, Edie put out a demo on her YouTube channel, Edie! At The Disco. The song is called “You Left Me”. It's a song about an unfaithful partner leaving her for someone else who'll likely have a similar experience. This demo was very rough but still full of heart. It was actually quite refreshing to hear.

A post on Tumblr revealed that Edie intended on writing more material. Originally Edie planned on making a full length album, but Edie instead settled with an EP set to come out a couple of months later. On October 24th she put up a new single called “Genuine Tears” and a remastered version of “You Left Me.” Although remastered, the independent, lo-fidelity quality vibe is still present. It just felt more... complete this time around. Then finally on November 3rd, the EP "Made With Blingee" came out. It featured “You Left Me,” “Genuine Tears,” and two new songs called "I Can See You In The Fog" and "Dream Person." Attached to the EP is this description:

"This EP is all my bottled negative emotions about people that i've had stored up in me for a very long time. All dressed up in pink, glitter and kandi, ready to kill you with a Hello Kitty knife. I hope you enjoy."

I don't think I could sum up Edie's music any better than she did herself but I’ll do my best to describe what I heard. It's very 2000s emo inspired but also reminiscent to independent MySpace pop music like The Perfect Measure, early Never Shout Never, or November Blessing and from my personal observations, even a bit of a Midwest Emo vibe to it. On the poppier side, mind you. Think The Juliana Theory or The Promise Ring. It sounds very humble and non-pretentious. It's stripped down, heartfelt music at it's finest and something I don't really see a whole lot of people trying to make anymore. A lot of the time these days, especially in mainstream music, people overproduce their music to insane amounts to but with Edie the attention is carefully and lovingly placed on the music and the lyrics, making it very down to earth and relatable instead of generic radio-fare. Genuinely good music sounds good even if it’s recorded on a potato and played with Fisher-Price instruments. Sometimes I tell people that I don't like pop music but that's actually not completely accurate of me. I like pop music when it's done RIGHT, and I really feel like this is an example of it being done right, done originally, and most importantly done for the right reasons.

What makes her music really unique is absolutely the quality of it. The songs are purposefully very minimal production-wise with a sort of Lo-Fi/Bedroom Pop vibe. It really helps to drive home the emotive aspects and the relatability. She's absolutely sold me on that because it works so great. The whole EP sounds like it was made by a mid-late 2000s emo-scene girl which was kinda the whole point of this EP in the first place. I feel like that's another goal met. It really does feel like a snapshot from a completely different time. It's a homage to a past era without being just a carbon copy of what other people were doing. I really feel like Edie has a ton of potential and a strong start. I'd love to see her make more music, perhaps even a full album someday.

I really hope you guys not only go listen to her music on Bandcamp but you actually buy the EP to support Edie monetarily. I think it's very important to support independent artists and with music this good it's so worth it. I’d really love to see where she goes from here. Edie, I sincerely want to thank you for introducing “ediecore” to the world and I hope this isn't the end of you musical journey.

Discography:

Made With Blingee (Bandcamp)

Favorite Lyrics: "She falls asleep every night, clutching her pillow tight. Waiting for dream person to arrive. She wants to cry when she wakes up, because it's all in her head. When will dream person finally be there..." (Dream Person)

Recommended Songs:

Dream Person (x)

Genuine Tears (x)

You Left Me (x)

#emo-scene-fm #scenecore #nu scene #scene revival #scemo #edie #indie pop #bedroom pop #emo pop #indie rock #alternative

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recommendedlisten · 3 years

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Album Review: Citizen - ‘Life In Your Glass World’

Life In Your Glass World is proof that a band doesn’t have to have it all figured out right away. Since their 2013 debut album Youth resonated deep with a new generation of post-hardcore listeners, Citizen have been growing up with their audience in phases. Each subsequent album was a logical next step -- 2015′s Everybody Is Going to Heaven a darker, morbid turn of proggier post-hardcore that sunk its grips into heavier matter beyond teen angst, and on 2017′s As You Please, the band refined their ambitions through producer Will Yip’s rock polish with tracks like "In the Middle of It All" that could have been alternative hits during the FM age and justified how these darlings of the Run for Cover punk scene grew a large cult of listeners.

The Midwestern band’s fourth full-length effort asserts itself as more than a next step, though. It’s Citizen overcoming their biggest risk-taking measures -- Perhaps because after a year like 2020, they’ve realized there’s nothing to lose when your art is all you have. Recorded in frontman Mat Kerekes’ garage in Toledo and now leaned down to the trio of he and the brothers Hamm, guitarist Nick and bassist Eric, Life In Your Glass World is still Citizen at their must muscular and now seemingly built for endurance against loss, heartbreak, and spiritual joy discovered in their collective grown experience.

Interlocked in their evolution is their relentless hunger to reinvent their former selves with broader influences. The one-two gut punch of openers “Death Dance Approximately” and “I Want to Kill You” inject razor sharp dance-punk into their burly, aerial assualt of riffage. Even in sonic polarity, the band is able to seamlessly morph any and all electric currents through a fine wire, be it weird pop thereafter on “Blue Sunday”, a sizzle of trip-hop on “Fight Beat”, or giving today’s TikTok generation’s one more reason to love the outlines of the Strokes’ neon rock on “Edge of the World”. When you peer into tracks like the emo ballad and bridge fire of “Glass World” and “Winter Bud”, even the most Citizen-sounding songs on this album cast a large shadow over their past selves. Whatever ceiling stands between this band and what remains to be explored, Citizen’s best album yet has them smashing through it.

Life In Your Glass World by Citizen

Citizen’s Life In Your Glass World will be released March 26th on Run for Cover Records. Physical | Apple Music | Bandcamp | Spotify

#albums #citizen #run for cover records

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thisaintascenereviews · 6 years

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Album Review by Bradley Christensen Hawthorne Heights – Fragile Future Record Label: Victory Records Release Date: August 5 2008

It’s been around nine months since Linkin Park frontman Chester Bennington unfortunately passed away, and in the time since his passing, almost every fan has been wondering what Linkin Park is going to do next, let alone how they’ll move forward. Frontman Mike Shinoda has reassured fans, ultimately saying that they’re not going anywhere, and he’s even got a solo album coming out soon, but this whole thing reminds me of something from about ten years ago. Bands lose members a lot, but it’s always tough when a member unexpectedly and unfortunately passes away, regardless of the circumstances. If you’re around 23 – 30, give or take a few years on each end, you were either just young enough when the emo wave of the early to mid-00s hit, like myself, or you were almost getting too old to be into that kind of stuff, but you might have liked it for a little while, or at the very least, liked a few bands or albums. You know what I’m talking about, too, right? I’m talking bands like Dashboard Confessional, Taking Back Sunday, Senses Fail, Silverstein, Secondhand Serenade, Underoath (they’re not really emo, but 2004’s They’re Only Chasing Safety bled into that territory, whereas the albums before and after were more experimental and more in the metalcore vein), and Hawthorne Heights, a band that I feel like has gotten more underrated over time. They got pretty big in 2004 with songs like “Ohio Is For Lovers,” which is their signature song, as well as “Niki FM,” both off their Victory debut, 2004’s The Silence In Black And White. I was definitely aware of this band, and I’m sure I probably heard those two songs sometime during my emo years, but I got into them really late. I listened to them for the first time in 2012, and the album I picked up was an interesting on in their discography. That was 2008’s Fragile Future, and it’s not an interesting album in the sense that their sound got really weird, or dramatically changed, but in 2007, longtime rhythm guitarist and harsh vocalist, Casey Calvert, unexpectedly passed away in his sleep from a combination of a couple of medications he was taking at the time.

While I wasn’t super into Hawthorne Heights at that time, which is when I got into music originally, I was aware of them. I read Alternative Press religiously, as that’s the main way I got my news and recommendations, since the Internet wasn’t as big of a thing as it is now. It was just starting to come up, especially with MySpace, and things like that, but it was Alternative Press (and to a lesser extent, Absolute Punk when it was called that still, but I still go to Chorus.FM a lot) where I got my news and recommendations from. I remember reading an article about Calvert’s passing, and maybe I still have that issue, because I never got rid of them. They’re a little beat up, but I still have my copies of those issues. Anyway, it hit the alternative, post-hardcore, and emo scenes really hard, because that band was really big at the time. Over time, however, I feel like they’ve gotten more underrated, just because their popularity has somewhat faded over time. Not totally, since they’re releasing a new record in a week from now, but they’re not a big name anymore. To be fair to them, and pretty much every other band in this vein, this style isn’t big anymore, and you don’t hear a lot of bands that have this post-hardcore / emo sound, but some of those bands are still really big. Silverstein, for example, is huge in the scene, as they’re still touring, releasing records, and they’re doing some big things, despite the post-hardcore scene not really being a thing anymore. To an extent, Senses Fail is doing awfully well, too, releasing new stuff, even though I’d put them right in the middle. They’re not super huge, at least as big as Silverstein still is, but I don’t feel like they’re as underrated as Hawthorne Heights has become. I’m getting really off track here, but the point is, the emo / post-hardcore scene took Calvert’s death hard, and nobody would have blamed the rest of the band if they called it quits. Obviously, they didn’t, and the result was Fragile Future, released in 2008. They still kept going, even when it seemed like they couldn’t move on without such an important and wonderful member of the band, as well as just a wonderful man.

The thing about this album is that it doesn’t represent the band well, and that’s mainly for the absence of Calvert, as well as screaming altogether. The first thing that you’ll notice about this album, especially if you’ve only heard their first two, is that there’s no screaming. Frontman JT Woodruff is on his own throughout the record, and that’s not a bad thing, as I like his vocals a lot, but fans (and even my own recollection of them) were used to harsh vocals, too, so this marked an interesting change for the band. I don’t remember fans hating this, or anything like that, but the first time I listened to this album, I was a bit surprised, because I was expecting more of a “heavier” sound, versus a more straightforward emo sound, but then I remembered that this came out after Calvert passed away, so it made sense that the album sounds the way it does. I’ve spent some time re-listening to this, after all these years, because I picked up Woodruff’s last solo album, 2017’s Lonesome, and that made me want to pre-order Hawthorne Heights’ new album, Bad Frequencies, but I also wanted to get into their early stuff. I still had Fragile Future, so I wanted to get back into it, especially now that I like this stuff a lot more. Listening to this album has been really strange, because as much as I really enjoy it, and believe me, it’s a great album, it’s also one that I haven’t been coming back to much. It took me awhile to realize why, but it’s because it’s a very powerful and “heavy” listen that’s hard to sit through at times. Not in the sense that it’s musically heavy, but it’s lyrically and emotionally heavy. The album mainly deals with Calvert’s death, and some songs directly address it, so it’s a hard-hitting listen that can take fans by surprise, even though it makes sense they’d talk about it. This album is just heavy stuff, and it’s one of those albums that I’ve come to really appreciate (even though I wasn’t into this back in the day, and that might be why, actually), but I still don’t listen to this often. I’ve been listening to their first two albums, mainly, because they’re not as heavy-hitting. I mean, yeah, the lyrics on those albums can be very emotional, but they’re not this emotional.

This is one of those records where the music comes last, and the vocals and lyrics are what you need to focus on. I like that they abandoned screams altogether on Fragile Future, because you need to focus on the lyrics, and it would really weird and disrespectful to Calvert if they suddenly replaced his harsh vocals so quickly. One issue that this album does have, and I think it’s because of the lyrical and emotional subject matter, is that it can be a bit too exhausting to listen to. I was listening to this the other day in my headphones, and by the time I was done, it was an exhausting experience. It was a good one, but it was a taxing one. The album isn’t also necessarily as catchy or energetic as the first two albums, too, but I don’t mind that. I mean, yeah, I don’t come back to this album as much as the first two records, but this album isn’t trying to be catchy, or anything like that. It’s an album this band needed to make, and in that respect, I absolutely respect it and enjoy it. Fragile Future isn’t my favorite album from them, by any means, but at the same time, it’s a damn good album that’s worth listening to. I wouldn’t start off with this one, though. Hell, if you’re looking for a good first listen from these guys, check out their debut album, The Silence In Black And White, because it’s got their biggest songs on it, and it’s where it all started. I really like 2006’s If Only You Were Lonely, too, because it’s got a more refined version of the sound on the debut, even though I feel like the songs on the debut are more memorable, so I’m not sure which one out of those is better, but they’re both fantastic. Fragile Future, though, is an album worth listening to, as it’s a very emotionally and lyrically heavy album that is very well-written and performed. It’s not the most “accessible” album from them, as the hooks aren’t as numerous (it’s got some, don’t get me wrong), but the focus is more on the lyrics and the emotionally fantastic performance from JT Woodruff. I wouldn’t start off with this album, like I did, because it’s not a good representation of their sound, but it’s worth a listen, regardless.

#hawthorne heights #jt woodruff #casey calvert #fragile future #victory records #post-hardcore #emo #the silence in black and white #if only you were lonely #rock #alternative #alternative press

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nbhd-daily · 6 years

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When Jesse Rutherford was young — before he got into music and eventually scored a No. 1 alternative-rock hit with his band, the Neighbourhood — the now-tattooed Ventura County native spent a few years working as a smiley-faced child actor.

One of his big auditions?

“A little show called ‘Hannah Montana,’” he recalled recently with a laugh.

Rutherford, now 26, didn’t book the gig on the Disney Channel juggernaut, but that was probably for the best, he figures: Early success in a job like that carries the danger of boxing in a performer — “unless you’re Drake,” he added, referring to the Canadian rapper who started out on “Degrassi: The Next Generation.”

“But that kind of transformation is so improbable, dude.”

Rutherford has come closer to such a shift than he might think. After notching double-platinum sales with the guitar-heavy KROQ-FM staple “Sweater Weather,” he’s released a debut solo album, “&,” on which he moves away from the Neighbourhood’s moody rock sound to rap in a sing-song flow over beats that pull from trap and R&B.

“The alternative world has gotten so boring,” he said over a glass of rosé at a cozy Italian joint near his home in Hollywood. “I don’t look at myself” — and here he raised a pair of air quotes — as ‘the singer in that rock band the Neighbourhood.’ ”

Yet that’s not because he’s left the Neighbourhood behind. On Jan. 12 the group releases a new EP, and it’s scheduled to perform Thursday night at the El Rey Theatre.

Instead, Rutherford has remade the band to the evolving specifications you can hear in his solo material; “Scary Love,” the Neighbourhood’s latest single, is a throbbing pop tune that shares far more in common with the Weeknd than with alternative rock’s reigning champions, Imagine Dragons.

In September, the singer brought the group to Anaheim’s Day N Night festival, where the Neighbourhood was an outlier (at least in appearance) on a bill topped by Chance the Rapper, Post Malone and Lil Uzi Vert.

“We were all like, ‘Is anyone gonna show up to see our set?’ ” Rutherford admitted. “I even tweeted about it: ‘Hey guys, I know Lil Pump plays at the same time as us, so I get it. If you don’t show up, have a good time.’ ”

But fans did show up — though not in the numbers Lil Pump drew to a performance in which he tossed what he said was $10,000 into the air.

Part of what’s eased Rutherford’s entry into hip-hop — and the thing that makes his timing kind of funny — is the growing embrace of rock iconography by rappers such as Post Malone and Lil Uzi Vert. As Rutherford is running away from rock style, some of hip-hop’s brightest young talents are running toward it, which means they’re meeting at a midpoint between the two genres.

Another artist at that midpoint was Lil Peep, who died last month of a drug overdose at age 21 after quickly making a name for himself with songs that blended emo and hip-hop.

Rutherford said he admired Lil Peep. But it’s easy to wonder if Lil Peep might also have been tuned into what Rutherford was doing in a song like “Daddy Issues,” a bleary cut from the Neighbourhood’s 2015 album “Wiped Out!” that feels in retrospect like a forecast of music to come.

Asked if he takes any pride in that, Rutherford shrugged.

“Being early doesn’t matter — no one cares if you’re before a trend,” he said. “You have to be on time.”

With that in mind, he’s working hard to capitalize on a moment well suited to his sensibility. In addition to playing solo gigs and shows with the Neighbourhood, Rutherford said he’s been writing behind the scenes with pop producers including Benny Blanco, who’s known for his collaborations with Justin Bieber and Halsey.

Perhaps those songs will end up on a Jesse Rutherford record or a Neighbourhood record; perhaps they’ll end up on a record by an established star looking to borrow Rutherford’s style. He’s cool with whatever happens.

“I don’t care what song hits,” he said — as long as it hits. “The band is a project I do, and so is my solo stuff.

“I change my mind so much, you know? It’s hard to be just one character.”

#jesse rutherford #the nbhd #the neighbourhood #article #interview #los angeles #los angeles times #la times #music #alternative #pop rock

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