Our music scene is going through an interesting cycle in the present day. There have been a large influx of young bands that have provided great excitement and passion for us all in the last few years, but we’re also entering a time where the influences of those bands are celebrating major anniversaries for their most loved albums. Bands like Taking Back Sunday, Brand New, and New Found Glory, among many others, have seen ten year anniversaries come and go. We all expect there to be more than a few great ten year tours in 2013, but PropertyOfZack team members put together a list of a few more albums that we want more than anything to see toured in full in 2013. Check out the full Discussion and feel free to reblog with any albums you think need to be championed as underrated masterpieces too!
blink-182 - Untitled
My favorite blink-182 record. Untitled pushed blink past pop-punk sing-alongs and dick jokes. It showed a band that could create powerful song after powerful song yet still packed with hugely successful singles with “Feeling This,” “I Miss You,” and “Down.” Regardless of their initial success however, blink never quite got to capatlize on Untitled due to their break-up in early-2005. A tour on this album would be filled with fans who were too young to see them at that point in time and the rest of their passionate fan base. Imagine if this was a Dollar Bill kind of tour too? Please Mark, Tom, and Travis. Please? - Zack Zarrillo
Brand New - Deja Entendu
Brand New toes the “will-they-won’t-they” line down to a science. They’re one of a handful of bands that ended up on just about everyone’s most anticipated albums of 2013 lists, even though concrete evidence that they’ve actually been working on new material is pretty much nonexistent. One of the best ways they can tide over a restless fanbase before (finally!) releasing new songs is by performing a whole bunch of old favorites. Like touring on Deja Entendu ten years later and playing the whole damn album cover to cover.
A Deja tour would put nostalgia on full blast for Brand New’s fanbase, and would bring fans both old and new out in droves. Brand New’s enigmatic frontman Jesse Lacey is probably over some of the songs he penned ten years ago, and even more tired of playing others, but just the chance of hearing some underplayed classics would draw enormous crowds. Deja isn’t as refined or focused as Daisy or The Devil And God Are Raging Inside Me, but the sheer energy of the album’s forty-nine minute runtime would make for a killer concert.
It wouldn’t be new music, but for fans waiting on bated breath for news from Brand New’s camp, a Deja Entendu anniversary tour might be the next best alternative. - Erik van Rheenen
Fall Out Boy - Take This To Your Grave
I mean, duh. Fall Out Boy has been gone for a while and we’ve just heard confirmations of their reunion - what better way to make a splash in their first year back in the game than to do an anniversary tour for the record that kicked off their legendary career? Take This To Your Grave is more than just a part of Fall Out Boy lore, though; it’s a quintessential album for the genre. When someone asks you what pop-punk sounds like, you might as well just shoo them away and tell them to listen to this album. It’s near-perfect in every aspect, and nostalgia rings hard with a record like this. A 10-year tour would be an enormous event for these guys…and aside from the new album they announced yesterday, this should be No. 1 on every Fall Out Boy fan’s list this year. - Thomas Nassiff
Less Than Jake - Anthem
Less Than Jake fans love Anthem as much as, or more, than Losing Streak and Hello Rockview. I’d expect the ska-punk legends to celebrate Anthem’s 10 year anniversary as much as they celebrated their 20 year anniversary in 2013 with a full-album tour. Singles like “Look What Happened” and “The Science of Selling Yourself Short” were the band’s most successful releases, and just part of why Less Than Jake should make a big splash with an Anthem tour preceding their next full-length record. - Zack Zarrillo
Coheed And Cambria - In Keeping Secrets Of Silent Earth: 3
Coheed And Cambria debuted their unique blend of emo-tinged progressive rock in 2002, but it was 2003’s In Keeping Secrets Of Silent Earth: 3 that broke them to the masses. More than just their commercial breakthru, IKSOSE:3 is the perfect Cliff Notes for Coheed’s discography, with a little taste of everything that makes the band both great and distinctive. It has it all: an epic, sprawling opener with a rafter-rattling chant-along coda (the title track); a pair of concise, radio ready pop songs with huge hooks (“Blood Red Summer” and “A Favor House Atlantic”); a three part progressive suite (“The Camper Velourium”); and even a fragile acoustic ballad (“The Light And The Glass”).
But beyond all that, IKSOSE:3 belongs here because Coheed & Cambria albums are meant to be listened to in sequence and in full. The album exists as part of a rich, complex universe, and listening to these songs out of order is kind of like taking a book and shuffling the chapters. Even if you dont know a Keywork from a Kilgannon, there’s a deliberate pacing to the tracks on IKSOSE:3; it flows from number to number like a carefully crafted mixtape, and hearing those tracks in the order they were intended makes for an experience even greater than the sum of its parts.
Coheed held a series of “Neverender” shows in 2008, playing their entire catalog in order for a few select cities; 2013 would be the perfect time to let the rest of their fanbase experience a small slice of The Amory Wars the way it was truly intended. - Jesse Richman
The Early November - The Room’s Too Cold
The best album from one of the most under appreciated bands in this scene will be even more celebrated this year given that The Early November is active again. In Currents was a wonderful record, but The Room’s Too Cold is nothing short of an essential listen. It stands as The Early November’s most impressive work, and we’d be surprised if the band didn’t capitalize on it this year in some way. Expect a short tour and an anniversary repress on vinyl. - Thomas Nassiff
Alkaline Trio - Good Mourning
Good Mourning put Alkaline Trio on the mainstrem’s radar, and it’s the album that best bridges the gap between the band’s rawer, rougher early albums and their more polished and pop-friendly recent releases. It features the band’s biggest radio hit, the rebellious “We’ve Had Enough”, but also fan favorites, from the bleeding-heart butchery of “This Could Be Love” to the bedraggled gallows humor of album-closer “Blue In The Face”.
In between those Matt Skiba-voiced bookends are two of bassist/co-vocalist Dan Andriano’s best and most beloved tracks, “Blue Carolina” and “Every Thug Needs A Lady”, as well as what might be the most underrated track in the Trio’s catalog, “Continental”. And no song before or since so clearly defines the band’s conflicted ethos — embracing death while mourning life, bitterly ironic and desperately sincere all at once —as “All On Black”: “sweet blasphemy // my giving tree // it hasn’t rained in years”.
Good Mourning was also the first Alkaline Trio album to feature drummer Derek Grant. Though he’s rarely in the spotlight — it’s gotta be tough being the third guy in a band with two lead vocalists— he’s incredibly accomplished on the skins (not just anyone can pinch-hit for drum god Josh Freese, as Grant has for the Vandals), and in the intervening years, has become as vital a cog in the band’s interpersonal functioning as he is to their stage performance. It’s not a stretch to say the might not be an Alkaline Trio today without Grant, and he’s at his best on Good Mourning.
All of which adds up to both the most consistent and most important release in Alkaline Trio’s 17 year history. Good Mourning was a milestone album for an iconic act that rose to popularity in 2003’s emo-punk high tide but always maintained a distinctive identity no other band could approach, and it deserves to be celebrated in 2013. - Jesse Richman
Death Cab For Cutie - Transatlanticism
To call Transatlanticism Death Cab For Cutie’s most important album feels as overt as one can be. Shoulder deep in growth and gain the album spotlights a significant shift in songwriting and studio approach. Less lo-fi than We have the Facts and We’re Voting Yes and more radio ready than The Photo Album, Transatlanticism would wedge the door for success wide open for the band, allowing them to mature and graduate from the best little indie band in Seattle to the biggest band on the airwaves. The next few years would see them leaving Barsuk Records for greener pastures, swinging by Saturday Night Live and receiving bids for Grammy nomination.
However, Transatlanticism is more of an example of historic success than a spotlight of selling out. It is important to think of it more like advancement from junior high to high school. With perfect pop tendencies in songs like “Sound of Settling” and descriptive delights like “Tiny Vessels” and “We Looked Like Giants” the album is honestly a quintessential example of Death Cab For Cutie. Within the album, the atmospheric structuring is accounted for. Ben Gibbard’s unique viewpoints are poetic explanations are intact. With all of their signatures in place, the band shines as brightly as ever before.
More important is the knowledge that 10 years later, this album is where those signatures started and where the world-takeover began. - Josh Hammond
Thrice - The Artist In The Ambulance
When Thrice changed its sound, they either became your favorite band or lost you completely. No matter which category you’re in or how you feel towards Dustin Kensrue’s new gospel project, you probably still adore The Artist In The Ambulance. A 10-year tour for this one is probably less likely than most other albums on this list, but it would still be an incredible experience to see this album played to small clubs. Considering that Hot Topic just repressed this record on vinyl, we wouldn’t be shocked if Thrice completely ignored this anniversary…but we can always hope. - Thomas Nassiff
The Postal Service - Give Up
The Postal Service reunion for Coachella? Check. Re-release of Give Up, the band’s one-hit-wonder of an album, with a few bonus tracks tossed in for good measure? Check. Anniversary tour of their one and only LP, a dazzling array of electronic pop and indie? Nope. Well, at least not yet, anyways. But the prolific Ben Gibbard and his Postal Service partner in crime, Jimmy Tamborello, should at least give the prospect a passing thought and fans should keep their fingers crossed that Gibbard decides to visit such great heights again under his old moniker.
From the first droning strains of “The District Sleeps Alone Tonight” to the urgent, dying chords of “Natural Anthem,” a Postal Service reunion tour would be the ultimate catharsis for fans who grew up on Gibbard’s sad-sack anthems: heck, he released two classic sad bastard albums (see also: Transatlanticism) in the same year. Some albums released in 2003 haven’t aged well. Give Up has aged like a fine wine, still tugging at heartstrings with its lovey-dovey lyricism and dreamlike instrumentation.
There’s definitely fan anticipation for an album, and with the commercial success of inescapable powerhouse single “Such Great Heights,” the tour would draw. If Ben Gibbard can get back into his 2003 mindset to croon some of his most emotional tunes, he’d leave shows without a dry eye in the house. - Erik van Rheenen
Kevin Devine - Make The Clocks Move
In my humble opinion, no one in the industry deserves the attention more. All you have to do is see him on stage one time for this idea to be embedded in your soul. Transitioning this release to stage, Devine would flawlessly flaunt his ability to formulate sentences with the finest of storytellers. Hell, revisiting Make the Clocks Move nearly 10 years after it hit my mailbox shows that it breathes with a validity few albums have sustained a decade later. “Ballgame,” for example, manages the same certainty and connection emotionally in my thirties as it did in my twenties. The song holds true for Devine on stage, who often tinkers with tiny phrases to update the song to his current state-of-mind. The ‘woulds’ have become ‘weres’ as his viewpoint has shifted from future to past tense. Yet, to this day, listening to Devine offer the phrase “when you realize it’s a pattern and not a phase/that it’s what you’ve become and it’s what you will stay that’s the ballgame” moves me as strongly today as it ever has, regardless of the shifting manner of my life since the release. This is because his honesty doesn’t age even if the album does.
However with charming tongue and cheek catch phrases and an arsenal of songs like “Not Over You Yet” and “Tapdance,” Devine manages to lighten to undertow commonly associated with the boy-and-his-guitar scene he finds himself imprisoned by. His carefully placed phrases depict and paint flawless perceptions of the less than perfect situations Devine finds himself in. Toss in the splendor of Devine’s candid facial expressions and innate ability to improvise, the album is the ideal candidate for live play. Regardless of its depressing nature, Devine doesn’t come off as a whiner like most serial sad bastards. He actually tends to linger closer to an intelligent but shy man, simply trying to explain his side of the story. His vulnerability and honesty are second-to-none in an industry flooded by bleeding hearts.
In ten years of searching, I’ve yet to find a single artist who has given me more. In the music industry he is the bar by which I judge every artist. - Josh Hammond
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