as I’ve said before I’ve listened to Can’t Maintain a lot recently. The lyrics are dark but I think they’re really uplifting at the same time in a way, its a sort of “fuck you, this is me and I don’t care” type thing. I think this song is a good example of that. its about a absentee father, but its also thankful in a sort of bitter sweet way and not too spiteful towards that absentee father. Just read these lyrics: “You played the trumpet and the drums While my mom sang at funerals I play guitar til my hands are numb You two are where music comes from, for me
So thank you so much for not raising me You spent your life on better things And you would have been an awful dad Thank you though for those genes you had“
after being friends with so many kids that bitch and moan about their okay parents (Hazel if you’re reading this, its not a jab at you, I get whats going on with you), its refreshing to hear somebody that doesn’t hate their shitty parents. really though, its a bit corny of an album, but its really energetic and fun at the same time. its the type of thing that makes me want to thrash around and scream the lyrics. not that particular song mind you, im not screaming to that one
Brewery : Noon Whistle Beer : M-Punk Mosaic-Hopped Red Ale Style : American Amber Ale / Amber Ale / Red Ale Variance : None
8 / 10
I fucking love punk music. NOFX was one of the first bands that really got me into the genre and even though Linoleum is the most popular song they have, I still love it to this day because of how damn awesome it is. This beer isn’t exactly as amazing as that song but I’d still consider it a fitting tribute to the style of music. I’d say this beer is right up there with Bad Religion, ALL, Pennywise, Anti-Flag, and many others so put on your studded vest and gel up that mohawk and let’s get down to business. These guys took a style that I normally tend to avoid and made it their own which I love because it’s nice to see a brewery trying new things to take traditional and overplayed styles to the next level. A nice oniony hop floral bitterness starts this off with even more hop flavor ramping up in the middle bringing some light grapefruit and citrus with it before ending with more of that oniony goodness mixed with some mild caramel malt flavors distinct to the style to close. Besides punkrock, M-Punk is probably the only other punk I’m fine with because realistically, who the fuck likes steam punk anyways? I mean, is it supposed to be like Mad Max or ghetto futuristic? I just don’t get that shit and if I see any of you readers wearing goofy welders goggles I’m probably going to have to give you a swift kick to the dick or puss or both. If this is your first red ale you are in luck because this packs way more flavor and has a lot more going on that most on the market so just keep in mind that it’ll probably only get worse from here. As for the bastard drinking crew, it should be obvious by now that you should pick this up but if not let me spell it out for you. G-O F-U-C-K-I-N-G B-U-Y T-H-I-S B-E-E-R. There, now we’re all on the same page. Cheers!
The years 2016 and 2017 have become years of analysis. With the growing acceptance of progressive values comes a new focus on what is problematic.
This, unfortunately, causes some of our favorite songs to be shuffled under the problematic umbrella.
An example of this would be “Daughters” by The Story So Far. While the song was the one that made me listen to the band (and even go as far as to defend the band when the lead singer infamously kicked a fan off the stage.) I now listen to it with disdain.
The thing is, to young teens, and even some older ones, the song seems to reflect a feeling of heartbreak and disappointment as their peers grow and change into people they don’t recognize.
Then as you begin to learn about feminism and delve into its values, you begin to realize that “Daughters,” and a lot of songs in the pop-punk genre, encourages the tropes of the “Nice Guy” and the “Slut.” This song is essentially an anthem for slut-shaming.
The story told in “Daughters” is a simple one. A woman, described as someone he never even met, goes off to college, though she’s “not getting smarter.” Mostly because she’s an active participant of college hook-up culture.
Throughout the song, it empathizes how this woman is somebody’s daughter. Instead of having any sort of identity, she is instead know as an extension of her father, which is problematic. It removes her autonomy and harkens back to a time where that’s all women were until they got married and became property of their husbands.
Of course, that’s not even the worst of it. As I mentioned before, it’s the fact that it could easily be used as a slut-shaming anthem.
Slut-shaming, for those unaware, is when a woman is shamed for dressing or acting in a way that suggests that they are in any way a sexual being. For example, when a man has lots of sex, they’re often praised as being “smooth” and a “stud.” For them, sex is natural. They’re supposed to be having it. As for women, we’re expected to be pure and docile, saving ourselves for our husbands. When a woman has lot of sex, she is seen as a slut with no self-respect.
“Daughters” excels too well at continuing this hypocritical narrative as the song opens with Parker Cannon at some sort of party. He’s hit on by this woman, who’s drunk and, wait for it, has casual sex. He continues in his scathing yell to describe how she lacks self-respect and how he would never hang out with someone like her.
While I’d like to imagine that they’ve grown as a band and have become aware of just how sexist and terrible their music is, recent articles show that they have no regrets over the song, that they don’t mind continuing the trend of spreading slut-shaming-culture to parking lots filled with young adults.
Without apology or a sign of regret, “Daughters” continues to perpetuate a misogynistic, slut-shaming culture. One that needs to die.
At last we have heard from Paramore! Early this morning the “genreless” band released their first music since self-titled album in 2013. The single, called “Hard Times,” is vastly different from their more well-known albums like Riot! and Brand New Eyes but it does follow the direction that this band has been headed for a couple years now. With a new lineup, and an updated aesthetic, this Tennessee based trio is hitting the pavement once again with what feels like their most colorful, pop-infused album yet.
Alright guys, here’s the deal. I’ll to be skipping the whole pre-review rambling because there’s a lot to cover here. Just know that yes, I am reviewing California for a second time; there’s less hype and a lot less bias this time around, so I feel it’ll be a much more accurate review.
Anyway, let’s get to it! Track by track review of blink-182’s California! (Again!)
1. Cynical - Still to this day, this is easily one of my favorite tracks on California. I think what won me over the most was the aggression in this song. They really shake their ‘just another pop punk band’ image here with the fast paced drumming and the straight to the punch guitars combined with Matt’s shouting in the chorus. It’s a perfect way to start off such a different album and I love every bit of this song from start to finish. - 10/10
2. Bored to Death - Okay, I don’t care what anybody says. Putting aside how absolutely iconic this song is, Bored to Death is definitely one of the better put together tracks on California, and I’m counting both the standard and deluxe tracks. I mean yeah, the lyrics still don’t make a lot sense to me, but compared to the cheap and useless filler I’ve heard on the rest of the album these are relatively harmless. At least these can be open to some sort of interpretation. I really appreciate the darker feel here, and the bridge is easily my favorite of any blink song post-DeLonge. I just wish they would’ve stuck to this caliber with the rest of the album, and I really they would’ve left Matt alone in the chorus, especially live. That being said, this still remains a favorite and probably will even alongside future releases. - 8/10
3. She’s Out of Her Mind - Right off the bat, this was one of my favorites off the album. It still is, but now I think of this song more as a novelty. It’s simple, it’s catchy, but that’s really about it. The lyrics are juvenile and rather cliche, but I’d be lying if I said this song didn’t still excite me whenever I hear it. - 7/10
4. Los Angeles - Initially, I equated this song to garbage, a mainstream pop atrocity that not even Dark Lord Skiba himself could save. But, after a few thorough listens and seeing it live twice, I’m going a bit easier on this track. I mean, it’s still a pretty big thumbs down for me but it has its merits. For starters I can dig the fact that they experimented and deviated from the ‘old blink’ style they tried so hard for. Moreover, something about Mark Hoppus and the bridge of this song gets me every time. - 5/10
5. Sober - I honestly don’t understand why this track gets so much flack (heh, I’m a poet and I didn’t even know it). In my opinion it trumps a good portion of the rest of California by a long shot. It’s rather mellow and laid back, and again not nearly as try-hardy as some of its counterparts on the album. In fact, to me it does a good job of illustrating both the playful, happy-go-lucky and the frustrating, trying times of adolescence. Not to mention, this song got bonus points from me knowing the first verse was basically Matt’s autobiography. - 7/10
6. Built This Pool - I’m just going to say, I find this song way more amusing than I should. - 9/10
7. No Future - This is another track I enjoyed pretty thoroughly and still do despite countless plays. I adore everything about this song, in particular the way Matt makes his place in the chorus with the jolting “NO FUTURE!” and the intense buildup into Matt’s verse (which is to die for, says I) along with the novelty pop punk style it was crafted in (stop-and-go guitars, simple yet fulfilling drum fills, etc.). Speaking of drums, the way Travis closes this song out combined with the matching structure of the ‘na-na’s is nothing short of godlike. No Future will forever be a favorite of mine. - 10/10
8. Home Is Such a Lonely Place - You know, I despised this song when I first heard it; it was way too mopey and pseudo-deep for me to possibly get behind. And, to be honest, not a lot has changed in the way of that opinion. It’s so…mundane. I just, it drags the album down than anything else and it really doesn’t belong. - 4/10
9. Kings of the Weekend - I can sum this song up in one word and one word only: excitement. Actually, this song is more like excitement with a side of FUCK YEAH!!. Aside from the opening track ‘Cynical’, this track hands down has the best instrumental on the album. The chorus errs more on the side of modern punk rock and it it sounds really well-done. Simple, but very well-done. Also, the opening drum line has to be some of the funkiest shit Travis has done in a blink-182 song. - 10/10
10. Teenage Satellites - *groan*…Ugh, this song nearly makes me sick at this point. It’s so adolescent it hurts. I can appreciate simple songs. I can appreciate youthful reminiscing (to an extent). But this song, this fucking song, this is where I draw the line. It’s a saccharine, adolescent mess of teenage cliches centered around an octave riff Mark strummed off the top of his head one day. I used to think this song was relatively decent but now I can’t help but cringe now whenever I listen to it. - 4/10
11. Left Alone - If I could put aside the cheap lyrics and the fact that this song is basically an Angels and Airwaves rip off, I feel like I’d enjoy it a lot more. I’ll admit, though, I am a sucker for the guitar lined throughout in the verses, and Matt’s vocals are pretty fierce when the chorus hits. - 6/10
12. Rabbit Hole - Okay, hear me out here. This song gets criticized left and right for its overall simplicity and basic nature. While both of those claims are completely valid, I happen to think that’s what makes this song so endearing. A song like this is meant to be fun, something that’s easy to listen to while you’re fucking around with your friends or whoever else. Not every song has to be so complex or even a lyrical masterpiece. Sometimes, it’s enough for a song to just simply sound pleasant, and that’s definitely accomplished here. It’s energetic, it’s pop punk as fuck, it’s blink-182. - 8/10
13. San Diego - Out of all the songs on the standard release, I feel that this one has the most, for lack of a better word, substance. Never mind the fact that it’s one of the few that doesn’t sound like a poorly made b-side of Take Off Your Pants and Jacket, you can just feel the emotion oozing out of this song and it’s fucking great. In such a flawless and iconic chorus, Matt Skiba takes the lead and really proves what he can do for the band. Hats off to Skiba and another hats off to this amazing song. - 10/10
14. The Only Thing That Matters - I think this song has a cute nature about it, and I think it’s a very accurate clash of both older generation blink-182 and Alkaline Trio (you know, the band Matt Skiba fronted happily before Mark kidnapped him and held him hostage). However, the chorus is way too lacking for me. Like, I can get behind the lovey dovey message but it’s so basic in its presentation that I just can’t get past it. - 6/10
15. California - Give it another year, just one more year, and I guarantee you’ll see this song used in some sort of Disney promo if it hasn’t been already. As a song it isn’t terrible, just rather flat and a little lackluster. I can’t say I hate it, though, even if I do find spending all your time inside while the weather’s perfect a little bit strange (and possibly a little bit manic). Also, the ending’s pretty cool, so there’s that. - 7/10
16. Brohemian Rhapsody - Yeah, I’m still fucking miffed that this song is literally only 15 seconds long. Everything about it’s perfect: the buildup, format, the staggering hammer-ons that Matt somehow flawlessly pulls off despite that being the furthest thing from his style! It’s all there! But no, they wasted a perfectly good instrumental on a tired fucking one-liner that was barely even amusing. Oh well, it still sounded badass and was definitely a fun way to bring the album to an end. -10/10
1. Parking Lot - Holy shit. This song, holy shit. Now this, this is how you make an entrance to an album. Originally I made mention of Mark’s verse throwing the song off, but after coming back to this song many times I can see that’s what makes this song work. As much as I appreciate the fact Matt upped the punk factor times ten (and that’s a fuck of a lot), I’m glad there’s some variation, that it’s not like that the entire way through. All around, this song is fucking wicked and easily one of the top three of the deluxe tracks. - 9/10
2. Misery - Things slow down quite a bit with this track, but it packs a punch nonetheless. I haven’t found myself coming back to this one as much but that doesn’t take away from the fact that it’s a really solid, really powerful song. I still swear that the way Matt shouts “I don’t need anyone!” in the chorus is what dreams are made out of. It also sounds like “I don’t eat anyone!”, but that’s besides the point. - 7/10
3. Good Old Days This is one song I find especially charming, due mainly to the early 2000s-esque dance chorus and the very eloquent use of synth throughout the entire song. However, the whole ‘I don’t wanna grow up!’ schtick is getting really fucking old. Now, I can understand wanting to feel young and to feel alive, but literally putting “and we’re not growing up” in a song is a tad bit sad to be honest. I fucking adore Mark Hoppus, but when he writes like that I just can’t take him seriously, and it lessens the quality of the song. Other than that, this track is pretty enjoyable and one I see myself coming back to in the future. - 7/10
4. Don’t Mean Anything - Ugh. U g h. Even tying this disaster of a song to blink-182 sullies their name. It’s just so bland and cookie-cutter and lacking any sort of effort or originality that it hurts. The only, and I mean the only points this song gets from me is Matt’s verse because he sings it really fucking well. Outside of that, this song needs to go back to the 2004 pop rock station they clearly ripped it from. - 4/10
5. Hey, I’m Sorry So, some time after the official release of California, this track was released as a Japanese bonus track. It took a few listens to really strike a chord with me, but now I can’t get enough of it. Also, I didn’t think I’d say this for a long time but I love Mark’s lyrical work here; it’s fucking stellar, as a matter of fact. This is another one of those experimental songs, but this one was definitely a success. I really dig the direction they went in with this one. - 9/10
6. Last Train Home - I was really glad to see they continued along that same vein of experimentation as heard in the previous track ‘Hey, I’m Sorry’. Initially, I cast this song off, thinking it wouldn’t pick up. But, it does. The song progresses slowly, and in a way that’s incredibly subtle. It’s very worth it if you can listen all the way through to the end. - 10/10
7. Wildfire - While I’m not exactly sure about Mark’s singing abilities here (in the chorus particularly), that doesn’t really concern me in this song, at least not as much as the fucking Xanax reference. Personally, I think this song is way too much fun to hate, and I know I am very much in the minority with that opinion. I mean, the classic blink-style riffs are all there alongside some gnarly Alkaline Trio influence, and it just has a very youthful aesthetic overall which I adore. I also admire how the song matures and progresses, starting off with Mark’s usual adolescent view of things and venturing into darker, more mature themes as Matt takes over. It gives the song another dimension, which I feel the rest of the album severely lacks. - 8/10
8. 6/8 - I’d argue that this is the absolute heaviest song blink-182′s released in the history of their career. Sure, the Self Titled album had a lot of experimentation and some heavier tracks, but there was nothing quite like this. This song’s a bit dreary, and it’s fucking rad. I won’t attack the fact that they named the it after the time signature for the drums, because honestly that’s just nitpicking (and I am not about that life…). But, I will claim that this would’ve been astronomically better had it been fronted by Matt. He has just the voice and singing capabilities to make this song as riveting and intense as it needs to be. Nonetheless, it’s still a badass track and a definite thumbs up from me. - 8/10
9. Long Lost Feeling - I feel like this song is more buildup than anything. It’s soothing, but it takes way too long to get to anything worth while. Mark also manages to make the first half as boring as he possibly can, so there’s that. If you can stay awake until you get to the second half of the song, it’s actually really pretty sounding and quite pleasant. You just have to get there. - 6/10
10. Bottom of the Ocean - No. Nope. N o p e. Fuck this song. At this point there’s not a hint of soul to be found, not a fucking ounce of integrity. Usually I say every song has its merits, but nope. I hate to be that ‘that guy’, but they sold out with this song, point blank. I am so glad this abomination never touched the original release. As stated above, fuck this song. - 1/10
11. Can’t Get You More Pregnant - I’ve already discussed this song far too much for a joke track, so I’m just going to laugh at the fact that a scientist actually proved this idea wrong, stating you actually can get a girl ‘more’ pregnant. Ha ha ha. - 8/10
12. Bored to Death (Acoustic) - Originally, I was under the impression that this would be a brand new studio recording. But, instead, it’s audio ripped from a live recording and mastered in the studio. Was a I bit let down by that in the beginning? Maybe a tad. But, with the audience so haughtily cheering in the background and Matt’s lyric change to “Mark’s head”, I actually prefer this to a brand new stand alone recording. In doing it this way, they laid a lot heart on it and made it a perfect closer to the album. Not to mention, Mark and Matt sound fucking top notch on this track. Simply put, this was a beautiful addition and I loved it much more than I thought I would going in. - 10/10
All-in-all, I was a bit let down by the rest of the deluxe tracks. To be fair, that’s probably mainly due to the fact that the one’s released hyped me up so much and shot my hopes sky high. Actually, no. They just sucked. But, that’s okay. There are a number of solid songs on the deluxe release, and I’ve gained a much stronger appreciation for the original release of California after being introduced to these songs. So, there is a silver lining here.
When I love something, I love it intensely but often it dies down and I go back to feeling neutral- TV shows, books, after a few months they go back to becoming fond memories of good times and something to relive if I’m feeling down. One of the only exceptions I’ve had regarding this trend is the ‘His Dark Materials’ trilogy- I was never knee deep in fanart and headcanons, never swept away with the intense mania the Internet brings but my love for these books has been steady, constant, unwavering. Their universe of Dust and Daemons is the only one I’ve truly wanted to escape to and live there instead. Now, years after reading them, anything steampunk (though this isn’t the full aesthetic of the series) brings me such unspeakable happiness that I can’t express- The Amber Spyglass was the first book that ever made me cry, and now just thinking of it makes me want to jump in to the series and re immerse myself in Will and Lyra’s troubles and adventures.
And now it seems that something’s rekindled in the universe, new books coming out and a potentially decent TV adaption, all of these memories of mine resurfacing. I’m glad I never jumped in at the deep end, scrolling through the tumblr tag deep into the night because it’s let me develop a personal response to the books, one that’s entirely my own without the influence of other people’s fantasies, a love that’s a deep set constant in my life which keeps grounded while my heart jumps from obsession to obsession.
Hey guys, Im trying to start getting into professional album reviews with a relatively popular website, but I need some practice. If you guys would be so inclined to send me some albums to review I would greatly appreciate it. It doesn’t matter if it’s something I will like or absolutely hate, any and all genres, I just want some practice, thank ya!!
First and foremost, this is not a Fall Out Boy hater blog. As a matter of fact, I love them so much I actually spent the little money I had to see them live back in 2013. Was that show great? It was beyond my expectation. Did I love singing back to Patrick Stump?! Hell yeah!
It’s just.. their latest single isn’t exactly what I would listen to on a regular basis, as a matter of fact, the song was more like a one time thing for me. Do I think they sell out? I don’t know. I haven’t made my mind about it yet. But do I love the new song? I don’t.
Young and Menace sounds somehow like a failed hybrid of EDM, Fall Out Boy, and a little of Panic at the Disco thrown a big messy bowl full of unnecessary things. I love the way Patrick sings, but the problem is….. He doesn’t sing a lot.
I honestly think it’s gonna be a much better song without the electronic screaming effect. Does that make sense? I don’t know what to call it but I loathe the song at 1:10 - 1:44. It just sounds disturbing.
I actually thought they were still with Fueled By Ramen when I first heard the song (seeing how FBR established what kind of music they’re going with for their artists like Paramore, All Time Low, and Twenty One Pilots). But I was wrong because this is genuinely Fall Out Boy. It does not sound like Fall Out Boy but it sure is something they would do.
I understand that Fall Out Boy is trying out new things, exploring their music wider, experiencing new stuff and figuring out things for themselves, but I personally think this one isn’t done right. I don’t mind with my favorite emo bands turning semi EDM because let’s be honest they need to make money and to do so, they have to keep up with the industry.
I just wish the electronic screamo stuff wasn’t there. Because that is the only thing and the one thing that makes me loathe this song. But I have hope for M A N I A.
Ruben Farias Releases Video for Angsty New Song"My Night Girl”
Acousitc pop-punk singer, Ruben Farias, released a new song titled “My Night Girl.” Tthe song is about several situations that lead up the impending demise of a once-great relationship.
Ruben described the writing process for the song to be quite simple, as is the case with most of his songs.
“I came up with the guitar chords and melodies first,” Ruben said. “As I was writing the melodies for the chorus, it kinda started writing itself lyrically,” he continued.
Ruben gets more personal in the verses where he describes exaggerations of different scenarios he’s experienced. He talks about how his so-called “Night Girl” threw a beer bottle at him, smoked all his sister’s weed, and smashed his guitar among other things.
The video itself features a guest appearance from the famous Sage Orteezy, a gorgeous chocolate Labrador.
Ruben claims that Sage and director Jeff Antons were the real stars of the video.
When brainstorming ideas for the music video with Jeff, Ruben asked if it was cool if Sage came out. “He was all about it,” Ruben said. “He got a few clips of me playing with Sage, and pieced the video together brilliantly.”
According to Ruben, the song is a fun one to play live. Its angsty verses create catchy sing-a-longs with the right crowd. So watch the video and learn the words to the song so you can sing alongside Ruben Farias next time you see him playing around town.
“We’re going out soon, right?” Éponine says as she passes the bathroom. She knows Cosette is in there, doing her hair or whatever, even though Éponine has explained to her a million times that the whole point is to not do your hair.
Silence comes from behind the door, but Éponine doesn’t have time to think much of it, because she gets too distracted by the sight of Montparnasse in her living room.
For many Tigers Jaw fans, this must have been an album they never expected to hear. Although there was never an official break-up announcement, with the news in 2013 that 3/5 of the band, and one half of the core songwriting team were leaving, signalled to many the end of the band. The release of Charmer exactly one year later was taken to be the band’s swansong.
Instead, Ben Walsh and Brianna Collins, with the help of superstar producer Will Yip (Balance and Composure, Title Fight, Citizen) have come out all guns blazing with a new record, spin. Musically similar to its predecessor, the new album benefits greatly from Collins’ new role as a principal songwriter - she also designed the album cover - delivering one of the album’s highlights in the form of June. And despite the lyrics of album opener Follows (”Killing time, we’re all just killing time/Going out every night to feel fine“) and themes of loneliness running through the album, there is a feeling of hope in the jangly guitars and soaring vocals that was often missing in Tigers Jaw’s earlier releases.
While most of spin rushes by, the back end of the album does drag a bit, with slower tracks Oh Time and Same Stone seeming redundant in the face of the earlier Escape Plan. Despite this, spin is an impressive album, showcasing the continuing potential of the band, and the ability of its producer.
Favourite tracks: Follows, Favorite, Guardian, Brass Ring
@outtapeak and their album Loveless are self-described as “pop mosh.” I was contacted by someone on their Tumblr, kindly asking for me to look over this album. How could I say no to such a nice message ending in “Have a fantastic day!” This 4 piece band originally from Italy, now based in the UK, give off the first impression of an easy listen punk pop band, something very radio friendly. It stays true to this base core genre throughout the whole album. This album is one to turn on for white noise in the background of your day, and perhaps your ears will perk upon hearing some of the more unique songs and the filler songs sporadically thrown about the place. There is nothing too complicated musically. On the other hand, one of the more interesting points of this album, and perhaps this whole band, is that there is an interesting accent combination in the main singer. Without listening too deeply, it’s easy to pick up a vaguely English accent, but when the vocals become centralized, you hear notes of his Spanish accent, and it adds an interesting element, that is the main thing that kept me intrigued throughout the whole album. Sadly, all the songs seemed to fade together, no one standing out more than the other. Although, I will allow a major exception being the fourth track on this album, “What You See Is My Heart Slowing Down”. If I was to introduce this band to someone who had never heard of them, I would start off with their strongest note, which in my opinion, is this song. The heavy distorted guitar intro was the instant moment I fell in love. It’s the more unique song on this album, and I hope if I continue to dig through their discography, I will find more songs like this one. All in all, this album is worth checking out if you like 90’s era pop punk, (such as Blink-182 and Bowling For Soup), but want more metal type screaming.