Dead Channels x Phantom Pain

       Almost once a day I curse the very existence of the internet. Spending the past few months here in Shanghai, I have been surrounded by millions of individuals aimlessly herded around from place to place with phones in their faces, disconnected from the world around them and living in a technologically induced catatonic coma. However, to say I don’t fully enjoy the fruits and spoils of the internet would be completely hypocritical (and rather pathetic as I sit here writing a fucking blog post.) Every once in a while I unveil something on the web that reestablishes my view on the internet as a necessary evil we as “post-modern” beings must continue to be subdued by, and most recently this discovery came in the form of the band Dead Channels.

       Hailing from my own backyard in Warwick, New York, I’m absolutely ashamed I have never heard of Dead Channels before, who has steadily been recording and releasing records since 2008. Even though the band performs as a trio, the depth of their musical talent allows them to sound as if they were jamming with four or five members. Arguably my favorite part about the band themselves lies in their ability to borrow bits and pieces from the sound of other bands such as Every Time I Die or Converge and use their influences to create something completely unique, one of the most admirable traits in my eyes. In a scene drowned in tasteless acts benefiting off of a sound forged by the work and creativity of others, it’s bands like Dead Channels, those creating rather than proliferating, that truly represent what it means to be an artist.

       The band’s latest release titled “Phantom Pain” houses 11 different songs, all of which tell their own unique story of loss, deception, manipulation, and decay. Vocalist and Bassist Angelo Mosca’s voice carries with it a sense of agony throughout the entire record, which almost battles for attention with Guitarist Matt Pardillo’s twangy riffs and Greg Farmer’s non-stop assault behind the kit which all together result a beautifully chaotic masterpiece. The record itself fully comes together in my opinion during the title track Phantom Pain, which demonstrates the true profundity of the group’s musical ability, as well as the full range of Mosca’s vocal talent.

       Regardless of what you dig, or think you dig for some, I strongly suggest you head over to the group’s Bandcamp page and scope heir latest album, as well as their other releases. With music becoming more and more commercialized and marketed these days, it is necessary to support groups such as Dead Channels, groups who could care less about the numbers and only care about releasing the dopest record possible. Definitely don’t less this one slip by.

Tightest Tracks

Store Bought Cross

Emotional Vampire

Phantom Pain

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Snarl x Spitback x Power Wrench

       

       

       Back in September of 2014, the internet nearly blew up when people caught wind that The Story So Far front man Parker Cannon had co-written and recorded a hardcore demo, calling the project Snarl. With four songs and under five minutes of collective play time, the demo fucking bumped, leaving many listeners wishing for more.

       However, many failed to realize, like myself, the fact that only a few months after the initial demo Snarl released a split with two other Michigan-based bands, skate punks Spitback, and Power Wrench, the brainchild of Citizen front man Mat Kerekes. A fan of Citizen since the debut of their LP "Youth," I couldn’t believe I never come across Power Wrench before stumbling across the split, which dropped in January of 2015. The band is nothing short of fucking disgusting. The lead on “Set You Straight,” the first Power Wrench track on the split, resembles old school shit you would expect to hear from bands like Primus or Sausage, with Kerekes’ vocals flawlessly layered on top to create something truly special and unique.

       Snarl on the other hand is a whole different story. Where Power Wrench brings an almost groovy vibe to the record, Snarl brings a fucking sledgehammer. All listeners need is one or two play throughs of the track The Fuse to realize Cannon’s true musical and vocal talents, with absolute destruction and power lingering from the first chord to the last. The lyrics of the songs on the split fit perfectly with Cannon’s writing style, illustrating the anger and resentment underlying in most TSSF tracks, some of the main reasons I have continued to fuck with the pop punk band since the early days of “Brevity” and “680 South.”

       Spitback picks up right where Snarl leaves of, hitting listeners in the face with their opener “Hammer,” arguably the illest track on the split itself. Hailing from Michigan, I am lead to believe that the members of the band have been buddies with Kerekes for some time, which is apparent by their bouncy, leg-kicking leads and consistent in your face baseline. I truly praise Spitback for their ability to create an inimitable niche in a genre so overpopulated with bands trying to profit off of a trending sound. You can tell just by listening to their tracks that the band actually enjoys writing their songs, leading me to believe that getting the opportunity to see Spitback would be beyond rad.

       If you missed this like I did, fucking download this shit immediately. Every band hosts the split on their personal Bandcamp account, but I will be placing Spitback’s at the bottom as it is the only one with all of the lyrics posted to it. Even though you don’t have to name a price, I urge you to at least throw these dudes a dollar or two for their successful drop of something dope and original. With almost every release in this realm sounding like cardboard cutouts of each other, it is projects like this (and shit like Rust from Harm’s Way) that keep me believing there are still people out there just trying to spread the hate.

Tightest Tracks
Spin the whole thing

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Knuckle Puck x Copacetic

       

       I don’t think I was the only who one was nervous when Knuckle Puck stated they had signed to Rise Records in late 2014. Known for puppeteering talent and molding artists into marketable minions, I figured the next release from the Suburban-Chicago based group would sound like a cookie cutter example of modern pop punk, not stoked to say the least.

       However, snagging an early copy of their upcoming release Copacetic (which drops July 31^st,) I must say that I couldn’t be more wrong. The album still carries with it the same recognizable sound heard on earlier releases such as While I Stay Secluded and Don’t Come Home, but manages to show growth from the band both lyrically and musically. Solidly mixing emotional melodies with in your face riffs, Copacetic will have you transition between tears and disgust weather you’re driving your car or sitting in your bedroom.

       As it goes, 2015 is looking like one of the best years for punk music since 2011, when we were hit in the face with Under Soil & Dirt, Shed, and Suburbia I’ve Given You All and Now I’m Nothing all in the same year. With tight releases from the likes of Turnover, Title Fight, The Story So Far, and soon State Champs, market competition is at an all-time high. I firmly believe with this release, as well as the exposure the band is receiving from their time on the Vans Warped Tour, that Knuckle Puck has firmly established themselves as a prominent player in the genre. If you aren’t on this wave already, make sure you pick up Copacetic when it drops this weekend and spin it til’ it breaks.

Tightest Tracks

Wall to Wall (Depreciation)

Disdain

Pretense

Twitter
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Counterparts x Tragedy Will Find Us

 

       

       If you know anything about me, or simply follow me on any of my social media accounts, than you probably know that this past weekend marked the release of my most highly anticipated record of 2015, Tragedy Will Find Us from Hamilton, Ontario based hardcore group Counterparts. The band’s fourth full length album bolsters eleven tracks which effortlessly join rhythmic guitars with heart-felt raw vocals, creating something beautifully unique to anyone who puts in the time to listen.

       First introduced to Counterparts following the release of their first studio album from Victory Records titled Prophets, it has been nothing short of extraordinary to watch the group progress and mature both lyrically and musically. In an interview with CayemInterviews, vocalist Brendan Murphy states that “the first two records were very blunt, literal and to the point. The Difference Between Hell and Home was my first time sort of experimenting on a more metaphorical basis, allowing those listening to gather their own meanings to our songs. I think I definitely expanded more on that with this new record.” Personally, I believe Murphy hit the head on the nail with this one, delivering some of the most elaborate and intricate lyrical content I've heard in the realm of hardcore music to date, songs of which arguably outshine modern authors and poets of today. 

      The album opens up with tracks such as Stillborn and Stranger, which accurately depict how it feels to live a life of depression, contemplate thoughts of existence and mortality while constantly fighting to urge to continue breathing. These tracks lead to the heart of the album where listeners gain an insight into the kind of feelings and thoughts running though Murphy’s mind as he battles his disease while simultaneously attempting to sustain each passing day. Tracks like Choke and Drown portray the age old tales of love loss and disconnect, something we unfortunately find ourselves immersed in some point of our being. Finally, the record closes with Solace, a song Murphy personally wrote for, “the one who allowed me to see the light., for the person responsible for helping me break free,” which still manages to choke me up even after my 15+ listens to the nearly four minute epic.

      Perhaps the fondest aspect of Tragedy Will Find Us in my eyes lies in the album’s ability to transition from track to track with perfect cadence, creating a unique listening experience foreign to most records released today. Not only does each individual song relay it's own specific meaning, but the album itself thrives as a tangible allegory of Murphy’s life, taking the listener though a whirlwind of tragedy and self-realization. In speaking about the album with CaymenInterviews, Murphy himself states that, “We focused a lot more on making the record flow better so that when you put it on from the start you don’t want to skip songs. You want to listen to it from beginning to end and think, ‘that was a record,’” a task the band completed without any doubt. Listeners obviously can pick and choose their favorites after having the CD for some time, but I urge you to at least run the album cover to cover at least two or three times before marginalizing the track into specifics, or the entire meaning behind the music will be lost. 

       With songs that punch you in the fucking gut alongside those resulting in tears and solation, Tragedy Will Find Us did more than simply meet my expectations, but changed my perceptions toward what it truly means to release an album. The efforts by guitarist Jesse Doreen to instrumentally illustrate the feelings of Murphy's scripture result in one of the most sentimental musical experiences to date. I highly recommend you check out this album regardless of you musical interests, and simultaneously read the lyrics on the internet while you do so, an act which allows the album transcend the boundaries created by modern music and transform the listening experience all together, resulting in something truly one of a kind.

Tightest Tracks

Stranger

Choke

Collapse

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2015 AP Music Awards

     

        For alternative music fans all over the world, last week was no ordinary one, as it played host to the annual AP Music Awards, fueled by Monster of course. Finding myself down in dumps over the lack of what I consider to be “quality music” in the recent VMA nominations, I found a flicker of solace in seeing some of my favorite artists receive the recognition they deserve on a large scale.

       Obviously I believe that some of the artists nominated for AP awards could stand toe to toe with the likes of Ed Sherran and fucking Walk the Moon, but for the time being the AP Music Awards exists as the only awards ceremony for alternative music, and I can live with that.

       

       Usually trying to keep it glass-half-full, I fought hard to look past some of the rather lackluster nominations for this year’s Awards, which took place in the rather sold out Quicken Loans Arena in Cleveland, Ohio. I must admit though that I don’t personally agree with the way in which the certain categories become created, as well as the whole voting process in general. For example, this year DW Drums presented the award for Best Drummer, with the artists such as Matt Greiner (August Burns Red), Luke Holland (The World Alive), and my one of my personal favorites Adam Gray (Texas In July) receiving shout outs for their contributions this past year. Now, anyone with the slightest bit of hardcore knowledge instantly knows that these three gentlemen exist as some of the best behind the kit in the scene, arguably in music period. However, due to the voting system which uses internet votes as the method of victory in each individual category, this year’s Best Drummer award naturally went to Rian Dawson, the drummer of alternative icon All Time Low.

       Now, I don’t want to take shots at ATL (because we see how far that got Trace Cyrus this year) but seriously what the fuck? Because of the fan based voting format, the AP Music Awards mimic everyone’s experience with high school superlatives, where the popular kids effortlessly skate past their competition who truly may become president one day, or might have changed more since middle school. 

      

       All jokes aside, this same trend of popularity topping pure talent could been seen in a number of other categories:

• A Day to Remember topping both letlive. and The Wonder Years for Best Live Band
• Tony Perry (Pierce the Veil) topping out both Will Swan (Dance Gavin Dance) and Jordan Buckley (ETID)
• Black Veil Brides taking Album of the Year over Beartooth, ETID, and La Dispute.

       Don’t get me wrong, the discrepancies I see within these various categories exist solely because of my opinions and musical interests. With that being said however, I believe that in order for the APMAs to receive any sort of large scale credibility, the nomination and voting systems needs a serious overthrow, or bands with the largest amount of Twitter followers will continue to snag awards that other less known artists may deserve, creating an almost glass ceiling in the likes of recognition and praise.

       The most asinine example of this can be seen in questionably the most bonehead category held during the AMPAs, Sumerian Records’ Best Underground Band. The nominations for this year’s award included the likes of Being As An Ocean, Knuckle Puck, Tigers Jaw (I don't really understand how they got thrown into this mix) and pop punk powerhouse State Champs. Ultimately, BAAO snagged the award, signifying the group as the ultimate underground band, or whatever the fuck that means. Personally, I have no clue how this category works and am unable to understand the thought process behind it. When I hear the phrase Underground I think of a group or artist universally unknown to the masses. How then, the folks at AP believe the band who receives the most fan votes can be classified as the best underground artist, I am simply unable to comprehend.

       All bitching aside however, I must admit that it is fucking awesome that the Awards themselves even take place, and I love seeing the entire show scale up year by year. A couple of awards this year found themselves in the hands of those fully deserving to be the rightful recipients:

• PVRIS snagging Best Breakthrough Band
• The 1975 taking home Best International Band
• Bring Me the Horizon winning Best Music Video for their work on Drown

      Even though I found myself fairly salt for most of the night’s events, I do still believe that the Awards do more good than evil for the entire scene. I envision them growing more and more each year, bringing together artists that may never cross paths in their normal lives. Hopefully as the Awards gain more legitimacy, the people at AP will realize the need to change some of the ways in which the ceremonies run, making the entire show more accessible and fair for all artists, big or small, to gain the spotlight and receive the credit for the art they work so hard to produce.

       Here are just a few of my favorite image from this year’s AP Music Awards:

 Andy Williams of Every Time I Die continuing to crack me up rocking some serious superhero gear.

 

 Best Breakthrough Artist PVRIS styling hard on the red carpet.

 Kieth Buckley of Every Time I Die killing it so hard on the red carpet.

Motionless in White posing for a shot with fellow boogeyman Rob Zombie backstage.

Future x DS2

Gotta admit, I hopped on this wave a little late. I was first introduced to Future Hendrix following his feature on Ace Hood’s trap anthem Bugatti, followed by his appearance on the track that literally destroyed my home town, Rocko’s U.O.E.N.O. My first impressions of the Atlanta-based rapper were honestly rather poor, writing him off as simply another wannabe trap christ soon to fall into the hands of either Coke Boys or MMG.

Man the kid couldn’t be more wrong. Following his 2013 nomination for Best Collab from BET for his verse on Bugatti, Future went on to release his second album titled Honest through Epic Records, a release that went on to be nominated for Album of the Year by BET. His single Move that Dope not only won the honor of Club Banger of the Year, but simultaneously established itself as a staple on pre-game mixes and blunt rotations all across the states, shooting Future into stardom and establishing himself as one of the most widely-known names in the game.

With hard verses and his staple Future hooks (I highly recommend peeping The Percocet and Stripper Joint for an example of this) it comes as no surprise that last week’s drop of DS2 literally fucked up the internet. Released only four months after Future's 11^th mixtape 56 Nights, the album boasts an astonishing 18 tracks, all of which can be played during any point of a party and gain at least one drunken "Fuck Yeah." Future's monotonous flow, coupled with his semi-melodic hooks create a sound that not only bumps, but one listeners can't seem to get enough of no matter how many times they find themselves yelling "Fuck Up Some Commas" with their boys (or girls). His wordplay, sometimes convoluted and inaudible, holds its own with those in his class, keeping new listeners cracking up and OG fans pointing fingers and mouthing verses wildin'.   Be sure to follow the hommie on Twitter and check out DS2, because before you know it, Future will be on the next wave, and you definitely don’t want to miss out like I almost did.

Tightest Tracks
Rotation
Lil' One
Thought It Was A Drought (Above)

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Tigerwine x Lull

Last week, Colorado Springs based trio Tigerwine released their debut EP titled “Lull” via Blood & Ink Records. This five song EP hits hard cover to cover, perfectly blending harmonies and screams to create a sound reminiscent of bands such as Balance & Composure and My Epic. Relatively new to the scene, Tigerwine announced their deal with Virginia based Blood & Ink in only early June. With this release, I suspect to be hearing about these three dudes quite a bit in the upcoming months. Be sure to follow them on Twitter and head over to Blood & Ink’s Bandcamp to check out the EP and support these hommies.

Tightest Track 
Twig

Bandcamp

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