Hoppus would fare well in a Scott Pilgrim universe, proving, most likely, to be a worthy opponent with the baselines and nananas and talk of fallen angels and grave grass and so forth, but every ying needs a yang. Alex proves to be a worthy one, and this EP feels more fun than ambitious, and it's not likely Hoppus is driven by an unquenchable urge to outduel anybody. We can love Mark for what he is and what he's brought us without going out of our way to make everyone feel bad about it.
This was legitimately one of the toughest drafts we've done. Even though Taylor's catalog is dynamic and offers something for almost anyone, it's still a more limited pool than, say, the entirety of music released in the year 2000. Additionally, each of her albums hecking rips, so leaving songs on the bleachers was going to be tough.
But the concept of living somewhere in the middle came to mind the other night when we stumbled onto the topic of the Starting Line on this week's show. We'd hoped to do a quick, breezy 40 minutes on the most popular version of their "Best of Me" music video (there are more or less three distinct versions, depending on how far down you scroll on YouTube).
What we ended up getting into, however, was a bit of an impasse on the legacy of the band and the different things that probably hurt their standing as time moves forward.
On New Year's Eve, Netflix dropped the Taylor Swift Reputation tour movie. It had steak, it had sizzle, and hey, it had Taylor blowing her nose on stage -- a cute moment to be sure. It also had snakes. Dear christ were there a lot of snakes on that stage.
One of the ideas we had for intermittent episode formats after the rebrand was song drafts. We went over and over how to categorize the songs and we thought it would be fun as hell to draft them by year for our ultimate mixtapes.
We started at the year 2000, which in hindsight may have been the biggest mistake we ever made, missing Blink-182’s Enema of the State by 6 months. (Don’t worry, we found a loophole for that one.)
Vancouver B.C. emo / pop punk band Youth Fountain, formerly Bedroom Talk is the newest name on the Pure Noise roster. This announcement explains why their much anticipated debut full length album "Letters to Our Former Selves" has been stalled with very little explanation. The record is now slated for a 2019 release, but their fans have a brand new music video (watch below) and an EP of their previous releases to enjoy for the time being.
The music video is presented like a movie trailer, we figured we'd cast that movie. (FOR THOSE WHO HAVEN'T SEEN IT: Nerds vs. Jocks at a co-ed private high school. Imagine if Wes Anderson wrote a screenplay for a 'Revenge of the Nerds' prequel.)
As a young impressionable child, I remember hearing information that, if reflected on for even a second, would be disregarded as insanity, but alas, I was 6 and everything was taken in as gospel. I invented my own stories as well, and some of them stuck with me for too long into my adulthood.
Taking a step back after weeks of listening to read all the lyrics, straight through without music, I began to admire this EP even more. As a concept album, every song is an extension of the last, unveiling another part of the story. Each song contains a call back, lyrically, to the previous song, and I felt it allowed me to connect much deeper with the songs.
In a scene largely represented by straight white men, Sharptooth aim to make waves in the hardcore scene as a female fronted band with their debut full length album "Clever Girl". The album was recorded in their hometown of Baltimore, Maryland by Paul Leavitt at Valencia Recording.
This record created my production philosophy. The entire premise for the project was to give Julien a record that was her. By letting Julien be Julien and not trying to get her to be anybody else we got a record that is an accurate representation of her soul.
Dave Schiffman is a Grammy winning record producer from Los Angeles, California with so many records under his belt, the list would certainly exceed the word count of this interview. Read on to hear in depth detail of how he went about recording Pup’s latest full length album, “The Dream is Over”
I don’t really do any tricks. I try to keep the arrangements as simple as possible. I’ll have a different guitar sound for the choruses. Probably layered with some extra guitars, leads and arpeggios, but I don’t do any stereo widening plugin tricks or anything. That always sounds weird and distracting to me. Ya depending on how sparse the verses are, I might pan the verse guitars in a bit if I feel like there is a hole in the middle.