POZ Discussion: Most Anticipated April Releases
April is just a few days away, and there are a slew of great records coming out in the coming month that PropertyOfZack team members couldn’t be more stoked to hear. In today’s new Discussion, we’re highlighting our personal Most Anticipated April Releases. Check out our list below and feel free to reblog with what you’re looking forward to as well!
Alkaline Trio - My Shame Is True: April 2nd
You can say whatever you want about Alkaline Trio. You can question their punk roots, bitch about Matt Skiba’s voice and claim that the band has seen better days.
The fact is that you’d be wrong.
The thing that make AK3 worth loving is the fact that they don’t give a shit if you love them. Their lyrics are rough and sometimes border on offensive. However, it is important to remember that the same elements that make them offensive also make them honest. Songs like “Radio” stand out in our heads as we relate to the bold and cutting reality of anger, resentment and desire to take the passion and aggression of our emotions to the next level. Alkaline Trio takes those feelings and throws them at you through their instruments and lyrics. There is no telling what the band will say on ‘My Shame Is True’. There will also be no stopping me from finding out. - Josh Hammond
Bring Me The Horizon – Sempiternal: April 2nd
British metalcore kings, Bring Me the Horizon, all but buried themselves in the cold-coffin of creative differences while writing what would become their fourth album, Sempiternal. Yet, they persevered. So, in many ways, Bring Me the Horizon has garnered themselves another lease on life. Wishful thinking finds all of metalcore rejoicing.
With Sempiternal, Bring Me the Horizon looks to raise the bar once more, clearly marking the genre as their territory to rip apart and rebuild. Where the Brits’ 2010 offering, There Is a Hell, Believe Me I’ve Seen It. There Is a Heaven, Let’s Keep It a Secret was genre-defining, Sempiternal looks to destroy any preconceived notion of what the beleaguered genre is demarcated as. Get on with it, already! - Michael Meeze
Young Statues - Age Isn’t Ours: April 2nd
Following up a 2011 full-length that drove stakes deep into the grounds of heartfelt, soft-spoken indie pop, Young Statues will be putting our its follow-up EP in April alongside approximately every other Run For Cover band ever (an exaggeration, but barely). Amidst this landslide of new releases, what we’re hoping to find in Young Statues is the same earnest simplicity that made their self-titled effort so endearingly lovable. It looks like that wish will be granted.
Along with a mini album-trailer boasting something romantic and reckless, the band has also released “Ghost Passenger,” a heartfelt track showcasing a more developed and roll-with-the-punches sound; a nice exercise in growing past efforts into stronger songwriting. Carmen Cirignano’s vocal hooks are confident and honest, and anybody who misses Limbeck will fall in love with the ever-so-subtle twangy glimmers that are dashed on throughout. Young Statues will be touring on Age Isn’t Ours on a powerhouse tour with the likes of RFC relatives Transit and Seahaven this spring, bringing their new record to life just as the warm weather hopefully brings everybody back to theirs. - Adrienne Fisher
Paramore – Paramore: April 9th
When it comes to Paramore, little in the way of an introduction is needed. The pop-rock trio has been to musical hell (oh, hey there, Farro Brothers) and are climbing their way out of its quagmire. So as we approach the release date of Paramore’s highly anticipated “come-back” album, there is little opportunity to Hayley Williams and Co. to look back down towards the depths they have endured over the past four years.
Paramore’s forthcoming fourth album, the aptly titled Paramore, is in every way a new beginning, a renaissance of sorts, for the band. All the early indications point toward a refreshed, refocused outfit poised to dominate the airwaves once more. Sure, there may not be another “Crushcrushcrush” hidden within the new album’s track listing, but who has time to look back anyways? - Michael Meeze
Allison Weiss - Say What You Mean: April 16th
Okay, so calling Say What You Mean an anticipated album is a bit of a stretch considering that I have both listened to and fallen in love with the album. With power pop tendencies and punkish slants, Weiss has managed to master the art of completing the perfect album. Her lyrics, which are raw and intended to not only tug the heartstrings of her listeners but also tear at her own, border on a level of reality often hidden from albums. However, what is more significant is the manner in which Weiss manages to tiptoe around being emotional without coming off as “emo.” I mean, sure she might be sad, but she is also just sassy enough from her sadness to come off as endearing. - Josh Hammond
Fall Out Boy - Save Rock and Roll: April 16
What’s there to even say about this one that hasn’t already been said? Fall Out Boy’s absolute monster of a reunion will finally see it’s apex in the release of their first album since 2008, and whether or not it will musically save rock and roll is all in the eye of the beholder. However, between the band’s open communication, a pushed-up album release date, resumption of a regular touring schedule, two interconnected music videos (with more on the way), and subsequent landslides of hype, Fall Out Boy has certainly revolutionized the return-from-hiatus in gargantuan ways. Holy shit.
The new songs themselves tout heavy influences from all across the board and promise nothing if only to be a creative evolution from their previous artistic endeavors; a host of adjectival phrases can be applied here (subversive, poppy, exiting conventions, groovy, ambitious, electronic…), and frankly, the fact that the new music lends itself so greatly to vast interpretation is all the more exciting when one considers what else lies in wait in that track listing. Oh, a guest appearance from ELTON JOHN? I literally don’t know if my heart can take any more of this, and it’s been the worst kind of weapon for years. (See what I did there?) - Adrienne Fisher
Frank Turner - Tape Deck Heart: April 23
Over the course of his career, Frank Turner has carved out his songwriting style with a sovereign grasp, consistently putting out records that rock just as genuinely as they roll their eyes back with tears. His newest effort and major label debut, Tape Deck Heart, will surely cut no corners in regard to the foundations he’s laid out for himself, employing wonderfully feel-good melodies against deeply personal lyrics.
Such evidence is apparent in “Recovery,” the first single that’s emerged from the record in all its lively, dancing glory. It seems as if Turner has captured the spirit of his stage incarnation with the Sleeping Souls and instilled it onto a recording, yet still making use of the self-deprecating lyrical themes that run rampant across his discography. It’s a hefty, fun romp through some tall weeds of neurosis, and as long as Turner hasn’t sonically abandoned the sad introspection that both darkened and popularized his songs of old, Tape Deck Heart will be sure to find well in the hands of both old and new fans alike. - Adrienne Fisher
Daylight - Jar: April 30th
Over the past few years, we’ve seen a group of bands once lumped in with the Defend Pop Punk scene — bands like Balance & Composure, Tigers Jaw, and Title Fight, that create their own home and fan base apart from other noise. Many have been waiting for Daylight to come into its own along with their peers like the bands mentioned above, and now is finally the time with Jar. “In On It” is the only song we’ve heard so far, but it’s all we need to be pretty certain that Daylight’s debut LP will be on constant repeat. Grunge, post-hardcore, rock - whatever you want to call it, 2013 will be the year of Daylight with Jar. - Zack Zarrillo
Sharks - Selfhood: April 30th
The Brit punks of Sharks splashed down on American soil this time last year with No Gods, a rollicking debut album brimming over with sleepy anthems and tips of the cap to The Clash and the punks of yesteryear. The record fell by the wayside as 2012 dragged on: for all its punk spirit and old-fashioned leanings, No Gods sank under its own starry-eyed nostalgia.
But “Portland,” the lead single off this month’s Selfhood, sounds like a Sharks more comfortable in its own skin. Romanticism and reverb still drench the tune, but “Portland” sounds as rooted in 2013 as it does in the hallowed classic British punk scene. Selfhood will probable toe the line carefully between past and present, but James Mattock’s vibrant vocals and Andrew Bayliss’s sneaky good guitar riffs should make Selfhood a memorable affair. - Erik van Rheenen
Streetlight Manifesto - The Hands That Thieve: April 30th
The saga of The Hands That Thieve is a winding and strange one that starts with the album getting held up by Victory Records and ends with the record being Streetlight’s swan song before taking a hiatus. Eleven cover songs of revolution aside, the last time ska fans heard new material from the ska veterans was 2007. All we’ve got so far is three song clips, but the crisp horn-laden Streetlight Punk sounds whole and intact in each of the three.
Tomas Kalnoky fans should pump their fists victoriously that they’ll also get a Toh Kay reworking of The Hands That Thieve. Expect the Streetlight album to be raucous, loud, and thoroughly untamable. But Kalnoky’s acoustic chops, as he proved on Streetlight Lullabies, will slow down the madness for a pensive, wistful revamping. - Erik van Rheenen
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