Listen to the song below.
Have Mercy have announced a new music video and song. The track is titled “Good Christian Man” and appears on their upcoming album, Make The Best Of It, which is due out April 21, 2017 via Hopeless Records. Singer and guitarist Brian Swindle comments:
“I grew up in a Catholic family. I’ve always believed faith is a beautiful thing but never thought religion was for me. This is mainly about me not being able to openly talk about these things with my family. Also, over analyzing things and habits that under the assumption that if I do them then something bad will happen. The good old Catholic way.”
Watch the song below.
Australian pop punks Tonight Alive has signed on with Hopeless Records, and premiered a new song and video. The video features the new track “World Away,” about which vocalist Jenna McDougall comments:
“‘World Away‘ is a continuation of our quest for self understanding and empowerment, but this time through developing a personal relationship with darkness. In a society that conditions us to suppress and shy away from confronting emotions, we wrote an invitation in World Away to shake hands with what scares us most and begin recognizing the opportunity for growth in struggle. Produced by Dave Petrovic (The Other Side, The Edge) we are sharing World Away with our fans as the introduction to the sound of the next chapter of Tonight Alive.”
The band last released Limitless back in 2016. Watch the video below.
Emarosa has premiered a new music video from their latest full length. The video features the song “Porcelin” from the album 131, which dropped back in July via Hopeless Records.
Watch the video below.
Long running emo staples Taking Back Sunday have announced that they will be heading on tour with direct support from Every Time I Die with Modern Chemistry and All Get Out. The band continues to support their 2016 full length, Tidal Wave, available now via Hopeless Records.
Tour dates are below.
Tour dates are below.
Tour dates are below. Emarosa and Chapel will serve as support.
Pop-punk veterans New Found Glory have premiered a new music video for the song “Happy Being Miserable.” The song is from the upcoming disc, Makes Me Sick, and is set to drop on April 28, 2017 via Hopeless Records.
Watch the video below.
Long running emo staples Taking Back Sunday have premiered a new music video. The video features the song “Call Coming Running” which is lifted from their upcoming full length, Tidal Wave, released back in September 2016 via Hopeless Records.
Watch the video below.
“On behalf of Super Whatevr we are extremely excited to be working with the Hopeless family. They have been incredibly kind to us and we can’t wait for the future of this project. If you dig us, we’ll be releasing new material later on this year as well and we couldn’t be happier with how it’s coming along. I want you to learn every word to the Good Luck EP and yell it in my face when we play in your town!”
St Albans punk band Trash Boat have announced that they will be supporting New Found Glory on their 20 Year Anniversary Tour. Trash Boat continues to support their latest album, Nothing I Write You Can Change What You’ve Been Through, which dropped last summer via Hopeless Records. The album was produced by The Wonder Years’ front-man Dan “Soupy” Campbell and follows the band’s 2015 Brainwork EP.
Tour dates are below.
Queens pop punkers Bayside have posted a video for Mary, the third track to be featured from their most recent full length Vacancy, (which dropped last August via Hopeless Records. The band are also embarking on a co-headling tour this spring alongside Say Anything.
Check out the video for Mary and the full list of tour dates below.
Pop-punk veterans New Found Glory have announced that they will be releasing a new album this Spring. The disc will be titled Makes Me Sick, and is set to drop on April 28, 2017 via Hopeless Records.
The band will be touring shortly before the album’s release. Dates are below.
‘Music for Everyone’, a compilation to support the ACLU feat. Taking Back Sunday, Anti-Flag Coming Spring ’17
Music for Everyone, a compilation project to support the ACLU which has been spearheaded by Taking Back Sunday guitarist John Nolan is due for release this spring in conjunction with Collective Confusion Records and Sub City (the charity arm of Hopeless Records). He has said this about his inspiration behind the project:
“During these next four years, I feel it’s going to be extremely important to support organizations that will stand up to the Trump administration”
Mike Colleran of Collective Confusion Records and Louis Posen, president of Hopeless Records have added:
“John [Nolan] and I had spent some time on the road together last summer during the primaries, and we were glued to the news the entire trip. I personally was shocked and saddened about some of the rhetoric that was slowly becoming more mainstream. There has been a toxic atmosphere to the political climate for years, which only seems to be getting worse. After the election, John approached me about putting together this compilation and I realized it was up to everyone, as average citizens, to do what they can to make their voices heard and to stand up and make it known that these ideas don’t represent us. I jumped on board with the project immediately, and I hope it will do some small part in making our country a better place for everyone.”
“Helping musicians connect with fans to raise funds for important organizations, like the ACLU, is at the heart of everything we do at Sub City, so we are thrilled that our friend John Nolan asked us to be a part of bringing this incredible compilation to life”
The LP will contain rare or unreleased material from the likes of Taking Back Sunday, Anti-Flag, Answering Machine, Baggage, Chris Farren, Potty Mouth, Brendan Kelley, Anthony Green, Frank Iero, Dave Hause, Sleep On It, Jared Hart, Cassino, Dead Heavens featuring Walter Schreifels, Allison Weiss and Brett Newski with more to be announced.
Pre-orders are available here: http://www.musicforeveryone.us/
To read more about the ACLU’s commitment to human rights following the election, check out their recent statement.
Queens pop punk band Bayside have announced a spring run of shows with LA’s Say Anything. The tour kicks off in April and will feature Reggie and the Full Effect (April 17th – May 14) and Hot Rod Circuit (May 16th – 27th) as support.
Bayside’s 7th studio album Vacancy was released last summer via Hopeless Records.
Check out the full list of tour dates below.
“Spelling Era describes two colleagues whose relationship remains strictly professional despite the ones failed “romantic” advances. Kiley Lotz’ (of Petal) vocal harmonies were a perfect finishing touch to really give this song the sound we wanted.”
Tour dates are below.
Straight To DVD II: Past, Present And Future HeartsHopeless Records
By AJ Phink
The extensively titled Straight To DVD II: Past, Present And Future Hearts is a live album by pop punk band All Time Low, this twenty one track epic, which includes two unreleased studio tracks, was recorded at Wembley Arena in March 2015. The album is normally issued in a multi format package, featuring a live album, live DVD and, if you order the deluxe version, an additional CD of unreleased recordings. I’m somewhat relieved that I was only sent the audio soundtrack as sometimes life is just too short.
This is a nineteen track live album with two unreleased bonus tracks attached, the first thing that strikes me is the crowd noise on this album, it’s so high in the mix it feels like I’m sat in the middle of the crowd, the second thing that struck me about the crowd noise on this album is that it’s extremely high pitched, it’s almost as if they’re playing exclusively to a barn full of children. Pop punk can be great, I adore Blink 182‘s Enema Of The State and Bowling For Soup‘s Drunk Enough To Dance, those are examples of a band playing punk with a poppy sheen, this is the other side of the coin. This is commercial pop music played with guitars with a slight overdrive, and to me that does not equate to punk, All Time Low are so poppy they manage to make almost every other pop punk band sound hardcore.
All Time Low may come under the pop punk banner, but as far as I’m concerned this is pop, there is no discernible punk content present on this, this is crowd pleasing pop music, nothing more nothing less. Straight To DVD II: Past, Present And Future Hearts is a compilation of radio friendly love songs played in a cavernous venue to ecstatic fans, and to be fair they sound like they’re having a marvellous time, but for me the only positive I can find in this is that I didn’t have to sit through the DVD.
Straight To DVD II: Past, Present And Future Hearts can be ordered, in an extensive array of bundles and formats, here
Canterbury, UK emo band Moose Blood has announced that they will be heading on tour with Trophy Eyes, Boston Manor, and A Will Away. The band is supporting their latest album, Blush, which dropped back in summer via Hopeless Records.
Upcoming tour dates are below.
Your World Won't ListenHopeless Records
By AJ Phink
Portland quintet Cruel Hand have now been around for a decade and this is their fifth album, they have continued to build on the style that was displayed on their 2014 album, The Negatives, and it appears they have no intention of settling into a comfortable rut on their latest full length. Cruel Hand play a brutal mix of hardcore, punk and metal, their latest release, Your World Won’t Listen, is a refreshing return to a no bullshit style of cathartic hardcore that we all need in our lives from time to time.
Nowhere, Nothing, Never opens Your World Won’t Listen in brutal style, from this point in you strap yourself in for twelve punishing rounds, every single track is a short sharp hardcore blast, but, and this is an important but, it doesn’t once become repetitious, the style, speed and delivery are all constantly varied across the album. For me the highlight of Your World Won’t Listen is the superb Too Far From That, with it’s anthemic chorus and driving punk guitar riff. Whilst that song is easily my favourite, there isn’t a single track that doesn’t hit the spot. From the off this is a contemporary take on the crossover hardcore and thrash bands that emerged in the 1980’s, but thankfully without any of the self indulgence that was a feature of some of those bands.
The twelve tracks, and there’s also a hidden thirteenth track buried at the end of the album, contained on Your World Won’t Listen are done and dusted in a shade over thirty minutes, meaning there are no guitar histrionics or extended breakdowns, this is a straight to the point album of ferocious hardcore that encompasses metal and punk influences, it is this that elevates this above most of the other releases of this style I’ve encountered this year. I’ve listened to this album at least four times on the bounce whilst writing this review, and to me it just sounds better with every listen.
Your World Won’t Listen can be ordered digitally from the usual suspects, and on physical formats here
By AJ Phink
This is Yellowcard‘s tenth, and sadly their final, album, following the release of this eponymous swan song they will embark on a final world tour that will run thoughout 2016 and 2017, which will mark their twentieth anniversary before the band members go their separate ways. As this is their final offering will Yellowcard bow out kicking and screaming, or will they go quietly into the night?
Given this is their final album Yellowcard open proceedings appropriately enough with Rest In Peace, this is a solid multi layered opener which seems to be tinged with regret, in contrast What Appears is a different, but equally multi faceted, number that builds to an anthemic chorus. The album seems to find it’s feet as the upbeat Get Yours kicks in with an unrelenting riff and much heavier sound than was previously in evidence. However, from this point the album eases off the gas until you hit the melancholy, and somewhat mawkish, piano led ballad Leave A Light On. Much of this album seems to be mulling over their own demise, with the noble exceptions of Get Yours and Savior’s Robes, this largely seems to be what can only be viewed as an elongated suicide note to their fans. Personally I’d have preferred them to bow out with a noisy kick ass wake that no one would have forgotten, as it is this is largely a rather sombre affair that’s tinged with regret, and that’s really no way to cash in your chips.
This is a superbly produced, albeit rather mournful, farewell album, at it’s core it’s pop punk but it’s been skilfully melded with other genres and influences to stop it being stuck in the predictable rut that so many pop punk bands find themselves mired in. However, for all the barrage of multi layered guitars, the skilful job that’s been done behind the desk and the anthemic choruses, this comes across as an an album that seems to be wallowing in self pity at Yellowcard‘s own passing. This raises the question, is this really the end? many bands have said their farewells over the years only to return a few years later, and this is an album that gives you the feeling that there is still unfinished business for Yellowcard.
Yellowcard can be purchased from Hopeless Records here
“…As its title implies, [the] album documents a series of unfavorable events that led to a pretty tough year. We couldn’t be happier with the outcome and look forward to creating honest and genuine music,”
Sum 41 recently stopped by Rolling Stone to perform acoustic versions of the songs “Fake My Own Death” and “Hell Song,” the first of which is from their latest album, 13 Voices, which dropped back on October 7, 2016 via Hopeless Records. The ten-track album follows 2011’s Screaming Bloody Murder.
Watch the videos here.
Watch the video below.
13 VoicesHopeless Records
By AJ Phink
Anyone else find it hard to believe that Sum 41 have now been with us for two decades? It doesn’t feel like that long ago that I bought All Killer No Filler, but it seems twenty years have slipped past. Since they formed Sum 41 have released numerous singles and EP’s, including the EP that introduced them to many of us, Half Hour Of Power, as well as three live albums and, including their latest release, six studio albums. Dave Baksh has returned to the fold for 13 Voices, meaning that along with Deryck Whibley and Jason McCaslin three quarters of the classic line up, that produced some of their best loved recordings, is now back together. Alongside the reunited trio are relative newcomer Tom Thacker, and their new sticksman, Frank Zummo, this also means that Sum 41 have returned to being a quintet for the first time in almost twenty years
13 Voices has a much heavier and darker style than you’d expect from Sum 41, many of the songs have a sound that is more allied with the likes of AFI, whilst this style has had an influence on much of the album, it isn’t the whole story, they have regained elements of the sound the made their earlier albums so popular. Tracks such as Goddam I’m Dead Again kick into more familiar territory, with a fast paced punk element, and that song is the first number, but not the last, when you really notice the return of Dave Baksh, and become aware of what they lost when he left, the heavy metal style guitar riffs were an integral part of their sound and style, and it’s like welcoming an old friend home to hear them again.
This album is something of a welcome return to their former sound, albeit a less brash and frantic version, whilst there was absolutely nothing wrong with their last two albums, 2007’s Underclass Hero and 2011’s Screaming Bloody Murder, but they seemed to lack the key elements of their previous recordings, now that certain something seems to have made a welcome return for 13 Voices. The return of Dave Baksh, whilst not obviously not the sole reason for this, appears to have acted as something of a catalyst for a return to form for Sum 41, whilst 13 Voices is not quite a return to their heyday, it’s not far off. 13 Voices is the sound of a band that seem to be finding the original enthusiasm and energy that came across so clearly in their early albums.
13 Voices can be ordered here
Sum 41 recently stopped by The Late Show to perform the song “Fake My Own Death,” from their upcoming album, 13 Voices, which is due out October 7, 2016 via Hopeless Records. The ten-track album will follow 2011’s Screaming Bloody Murder.
Watch the video here.
By Cole Faulkner
When we last checked in with Canterbury quartet Moose Blood, they had just released their debut LP to much fanfare. The emo-pop newcomers quickly charmed an ever-critical audience, citing welcome likenesses to contemporaries Prawn and Dikembe amongst long time favourites like Brand New. Needless to say, they left quite a striking first impression. Diligent performers they are, Moose Blood is back a short year later with their next step and follow-up, Blush.
Returning fans will welcome the familiar emotion-laced, soft-spoken melody as a further extension of the band’s high caliber and spirit of musicianship. A further sigh of relief comes knowing that Moose Blood has followed up their initial effort without any radical departure, more fully exploring their current characteristics (avoiding the sophomore slump that so damagingly stunted genre-mates Somos a couple years back).
Blush defines itself as a very cohesive and listenable outing. Embracing hooks without over-emphasizing poppy elements, and exploring emotions without dragging listeners down into the murky depths. Tracks like “Pastel,” “Honey,” and “Knuckles” maintain a steady beat, buoyantly propelled by thoughtful riffs and analytical lyrics that do more than default to a worst case scenario. The latter takes a reflective approach in sing along choruses that seek truth as much as validation. When the tempo shifts and the vibe becomes gloomier, songs like “Sulk” enter sadder territory without losing their underlying energy. Poignant chords vibrantly ring out into neighbouring track “Glow” as recovery sinks in, eventually spiking back in “Cheek’s” easy hooks. While this description might read like a track-by-track, that has more to do with Blush’s logical flow rather than a writing style.
During the final leg, Moose Blood really slows down for “Shimmer” and “Spring,” reminding listeners of the merit of comparisons to Brand New. For the former, a dark veil tempers the atmosphere, stripping percussion for the first half of the track and replacing steady riffs with lone chords, ringing out with lingering distortion. During “Spring” the vocals take a somber turn, emphasizing the pain of memory, grounding the album’s heavy emotional content in a fitting backdrop. This pair of tunes boasts everything you’d want in a solid emo or post-punk track.
Above all, Blush is a fulfilling listen. Moose Blood may not have deviated far from their formula or taken too many chances, but they make a strong case for their underlying foundation. While some may argue that Moose Blood plays it safe on Blush, the undeniably solid execution only solidifies future curiosities, begging the question, where will Moose Blood go from here? Given their track record of speedy follow-ups, perhaps we’ll only need to wait a year to find the answer.
Tidal WaveHopeless Records
By AJ Phink
Tidal Wave is Taking Back Sunday‘s seventh album, while most of their peers have either broken up, faded away or reunited to capitalize on the emo scene’s wildfire revival, Taking Back Sunday have been an ever present on the scene, they’ve consistently ploughed their own furrow and continued to reinvent themselves regardless of passing trends and tastes. Tidal Wave appears to represent yet another turning point in the band’s history, Taking Back Sunday have regularly adopted fresh approaches and styles since their inception, whilst in this past these haven’t always hit the spot this latest album is one that appears to have breathed new life into the band.
Opening number, Death Wolf, takes it time getting going, a full minute of gradual atmospheric build up takes place before the song is jump started, but it’s worth the wait as this it is a fine slice of polished emo tinged punk that boasts some epic riffs. However, there is no such dramatic introduction or polish with the album’s title track, it kicks in and is a short sharp punchy punk number featuring machine gun dreaming and a chorus that just hooks you into the song. Tidal Wave continues to build layers and textures by utilising various tempos and styles, all the while maintaining an impressive level of energy, that is until you hit the half way mark when the album screeches almost to a halt with the introspective I Felt It Too, for me this track just interrupted the flow of the album and it seems to be at odds with the other eleven tracks. Any worries you might have had following this number are dispelled as the second half of the album mirrors the approach of the first half dozen tracks with a variety of styles, but this time there is no sudden halt to the proceedings, whilst the album does end on a slow burner, the epic I’ll Find A Way To Make It What You Want, it is one that fits in with the feel of the album and is a fine ending to an impressive album.
For me Tidal Wave‘s title track is the high point, but that is such a good song that isn’t in anyway a slur on the rest of the album, if you’re a fan of Taking Back Sunday you will probably have already ordered this, in fact by the time this review appears you’ve probably had it playing on repeat for a few days. One of the factors that marks this out from Taking Back Sunday‘s back catalogue is the fact that was written in the studio whilst they were recording it, rather than the album being crafted and overly anguished over beforehand. I think this approach brings a freshness and new found enthusiasm to their sound, whether this is their best album will be a subject of some debate, but what Tidal Wave definitely does bring is a new direction, and it’s one that seems to have re-energised a band that has been with us for almost two decades.
You can order Tidal Wave here
Portland hardcore punk band Cruel Hand has released their new album, Your World Won’t Listen, which dropped recently on Hopeless Records.
The band will be heading on tour in October. Dates are below along with the recent video for the song “Decompose.”
All Time Low has premiered an unreleased track and accompanying music video. The track is titled “Take Cover” and the footage is lifted from their upcoming documentary release of Straight To DVD II: Past, Present, and Future Hearts, which is due out September 9, 2016 via Hopeless Records.
Watch the video below.