Release Date : June 15th, 2017
Review by: Mike Mulè
Record Label: Pure Noise Records
Review by: Mike Mulè
Record Label: Pure Noise Records
The (Cabaret) Metro has been a staple in the Chicago music scene for the past 35 years. Hosting bands like Sonic Youth, R.E.M, Smashing Pumpkins, and of course, Alkaline Trio, the venue has seen its fair share of insane shows. For its 35th birthday, Metro has been hosting enormous bands in their 1100 capacity club, to bring fans the intimate experience with their favourite bands that they may never have hoped to get before. I was one of those people, because on August 3rd, 2017, I saw blink-182 at Metro, the night before they headlined Lollapalooza.
The show opened with electro-pop artist Elohim, who I had never heard of prior to hearing that she was going to open for blink. As an electro-pop artist playing a punk show, she was offering her soul to a tough crowd. She was able to captivate the audience, and halfway through her set, people were dancing and getting fully into her stage presence.
Elohim makes everything about the music. It’s just her, her keyboards and her mixers on stage, so there’s no other entities in between her and her creations. Her feminine mystique is strong, as she covered her face while playing with her hair or a hood, so that we focus on feeling her music rather than watching her. Elohim used this opportunity to play a high-profile show, and I doubt this is the last we’ll be seeing from her.
And then, there was blink-182. If you ever wanted to see blink-182 in 1997, tonight was the most reminiscent of that time. There was no flaming FUCK sign, no pyrotechnics, no fancy screens. blink-182 was stripped down to three punk dudes on a stage, playing for 1100 people instead of 30,000. The band was much more comfortable playing to a smaller room, like they were playing for a bunch of their friends. However, Matt Skiba (guitar/vocals), the newest addition of blink-182, appeared to be the most comfortable. Skiba, hailing from Chicago, has played the Metro growing up and with his other band, Alkaline Trio, has referred to it as his second home. On this night, you could feel his comfort level was at an all time high. Mark Hoppus (bass/vocals) mentioned that the last time blink-182 played Metro was 20 years ago, even before Travis Barker (drums) joined the band. It was truly an experience that I’ll never forget.
Playing newer songs from their Grammy nominated album, California, to deep cuts from Enema of the State, blink-182 played an hour and fifteen minutes of pure, unadulterated bliss. They bantered, just like they always have, and although I have seen blink-182 a few times with Matt Skiba replacing original guitarist Tom DeLonge, I’ve never truly appreciated all that is Matt Skiba until I saw him perform on his own turf. Travis Barker (drums) blew me away, as per usual, with drum solos and perfect timing throughout the entire set. Watching Barker play is like watching a surgeon perform an operation: skillful, steady, and a master at his craft.
Running a successful music venue for 35 years is difficult work, but after attending a show at Metro, it’s clear why they continue to be successful. Things run smoothly, there’s a method and a flow to everything that they do, they’re adequately staffed not only in security, but in servers and bartenders as well. From the lighting to the sound quality, everything was top notch. I’m excited to see what the next 35 years will bring for Metro.
Neck Deep have come a very long way since I first heard of them while perusing through Facebook 5 years ago. They hadn’t played their first show yet, and only had 3 songs recorded at that time. Now, they have landed their first top 10 album with their 3rd full length, The Peace and the Panic.
The band went through quite a bit over the last couple of years. A slight lineup change, family members passing away, and the current political climate really show through on this record. It’s extremely relatable and it shows a much more mature side from Neck Deep that we haven’t had the opportunity to see before. The album starts out with my favourite track, “Motion Sickness”, a certified banger that’s catchy as hell, and slides right into politically charged “Happy Judgement Day.” It always brings a smile to my face when a pop punk band reaches for more topics than just relationship struggles, and that truly shows on this record.
Neck Deep explored a lot of new sounds on this record, especially “Critical Mistake” – an alt rock/pop track that could be played 100 times over on any major radio station. Although they have experienced with screaming vocals on songs before (see: “Gold Steps”), none have quite been like Sam Carter of Architects guest vocals on “Don’t Wait” – surprising, haunting, and melodic all at the same time. It fit, it was unexpected, and I was so into it.
All in all, The Peace and the Panic is a major contender for my top 3 releases of the year so far. I’m extremely proud of the work that the Welsh quintet have put into this record, and I can’t wait to see them continue on their rise to the top of the scene.
Pop punk has been generating some stand up releases so far this year and I can barely bear my excitement for it. Included in this category of knock outs is the young Bearings hailing from Ottawa, Ontario. Recently signing to Pure Noise Records, Bearings is slated to release their third EP Nothing Here is Permanent on September 8th. For such a young band, only forming in 2014, one would come close to losing their bearings hearing how well put together and mature their sound is already.
While the first single and music video ’North Hansen’ does a fantastic job out outlining the growth of the band and touches the influences of the band, (blink-182, Descendents, Hit The Lights) Nothing Here is Permanent as a whole shows how these fine Canadian gentlemen know what they like in music, know what they want to sound like, and know how to do it. Hard hitting lyrics, fantastic melodies harmonies, and yes, better believe there’s a few gang chants scattered in there. Unique enough to stand out, yet familiar enough to make its way to the top of your ‘best of 2017’ list, Bearings will definitely be a band to watch for the next few years and a great addition to the Pure Noise family. Not saying they’re going anywhere anytime soon, but they say it best. Nothing Here is Permanent. Make sure you take time to check them out while on tour with label mates State Champs.
Every time The Wonder Years release a new record, I think to myself “there is no way that they could ever top this. This is the best record this band could ever create.” I thought this with The Upsides. I thought this with Suburbia. I thought this again with The Greatest Generation. And after The Greatest Generation, I honestly thought it was true. I knew this Philadelphia sextet were evolving their sound and maturing, and I didn’t think I was going to like it. I was dead wrong.
No Closer To Heaven, the fifth studio album from TWY, the third from Hopeless Records, is a raw, honest, beautiful piece of art that has come from the blood, sweat & tears of these men who laid everything out on the table for us to experience. We hear deeper and darker issues being explored on this record, from addiction & racism, to classism & abuse. Not only do we hear the maturity in the lyrical content of the record, the majority of which is penned by vocalist Dan Campbell, but we hear it in the instrumental content of the record as well. We hear guitarists Matt Brasch and Casey Cavaliere orchestrating arrangements I didn’t know they were capable of; we hear guitarist/keyboardist Nick Steinborn input keyboards into tracks so beautifully and in just the right places. We hear drummer Mike Kennedy and bassist Josh Martin hold the record together with new rhythms and beats I would have never expected to come from a pop punk band.
The Wonder Years have always had a way of delivering an insane amount of emotion through their music, and No Closer To Heaven is no different. Extremely apparent in a few tracks more than others, (“Cardinals,” “Cigarettes & Saints,” “Stained Glass Ceilings”) this loose concept album delivers a purpose for every song, for every note, and for every lyric sung. Some songs are catchier than others, while some are more experimental. The Wonder Years truly explored their artistry and came out on top, when so many other bands fall through the cracks and into oblivion.
It’s not the end of the year yet, but No Closer To Heaven has made a very strong case for my Album of the Year, and is now one of the best albums I have ever heard as a whole. The Wonder Years have more than proved that they are an incredible force to be reckoned with, and I’m excited to see if they can top this. I’ve said it before, and I’ll say it again: this is the best record The Wonder Years has ever created.