Fans were hoping that Fall Out Boy would not take any openers out on their spring tour, but the band confirmed yesterday that there will be one opener per show on the band’s first US tour since coming off of their hiatus. Check out your openers and dates via the link.
This doesn’t look good. Against Me! has lost half of its lineup in less than four months. Laura Jane Grace even hinted that she would most likely breakup the band if she didn’t feel their new album needed to be heard.
When old punk and hardcore innovators call out other old punk and hardcore innovators.
Neutral Milk Hotel’s reunion will not be limited to five shows this fall. The band will be adding more dates to their schedule in 2013 and will have an extensive 2014 tour routing.
The Slayer guitarist passed away yesterday morning from liver failure.
The third song off of The Greatest Generation has been released, and this one is a monster. What an ending.
More sleepy eyes and boney knees coming this June.
John Mayer surprised fans yesterday with the news of a new album coming this summer, just a year after his last release. The new album will feature all new material.
Why be straightforward when you can be creepy?
Drummer Stevo Jocz has left Sum 41 after 17 years. The band has yet to release a statement of their own, but early rumors suggest the move was most likely made due to the band dropping off of their recent arena tour with Billy Talent.
AFI are always cryptic, but the band has let fans know that something is coming in September. An album, maybe?
Emily’s Army have signed to Rise Records and will be playing a stint on Warped Tour. Many are taking interest in the band because the drummer is Billie Joe Armstrong of Green Day’s son.
FOB and Kid Cudi are both on track to sell 145,000 records. Who do you think will take the top spot?
Paramore took their first number one spot on the Billboard charts with 105,000 copies sold. What’s interesting is that the release of brand new eyes debuted in the second spot four years ago with 175,000 albums moved.
Spitalfield are back for a ten date ten year tour for Remember Right Now. Shane from Valencia and Jon Walker (ex-Panic!) are opening.
Fans were hoping for a release this June, but it looks like we won’t be getting The Dangerous Summer’s third album until August.
Albums Out This Month
The Weekly Tour Round-Up
AFI - Sing The Sorrow
Cartel On The Smashing Pumpkins
Rough Drafts With Ben Liebsch
Behind The Booths
Wake Up And Be Awesome Tour
Today PropertyOfZack is launching our fourth Decade feature in honor of AFI’s Sing The Sorrow, which just celebrated its ten year anniversary. The band has been quiet for a few years now, but the anniversary of one of the band’s most popular releases can’t help but bring memories back for AFI fans. We have commentary on the album via team members Josh Hammond, Marc Gary Gray, Deanna Chapman, and Adrienne Fisher, in addition to special words from Mike Hansen of Pentimento. Enjoy and reblog to let us know your thoughts on Sing The Sorrow ten years later!
Legacy of Sing The Sorrow
In reality Sing the Sorrow has two legacies.
To begin with the album serves as a major fork in the band’s career in terms of referencing their sound. With Jerry Finn and Butch Vig at the helm of production, their sound would shift from the horror punk and hardcore sound that fan’s had become accustom to, forming a more industrial and alternative sound flooded with synthesizers and samples. Combining the brilliance of both storied producers, AFI’s new sound caught the attention of media and fans alike. The album caught fire and built a buzz like the band had never experienced.
All three singles from the album (“Girl’s Not Grey,” “The Leaving Song Pt. II,” and “Silver and Cold”) landed significant radio attention, help the album climb the charts. Peaking at 5 on the Billboard Top 200 charts, the album would grip the industry in a way not completely expected from previous releases. High praise from the media would also help drum up exposure for the band, eventually leading to a Platinum Record for Sing the Sorrow. The album would slingshot the band into A-List status, changing the face of the career of AFI. With bigger venues, larger audiences and more exposure, the band’s speaking voice would quickly shift into a yell. – Joshua Hammond (@endless_rambles)
Most important song on Sing The Sorrow
Sing the Sorrow showcases a pretty standard evolution that plenty of bands undergo - the move from hard to soft, from aggressive to introspective. AFI caught their fair share of flak from underground supporters for the shift, as it came in suspicious conjunction with their new major label home and with a host of songs that had mostly all but abandoned the hardcore punk style that was adopted on their previous releases. “Girls Not Grey” and “Silver and Cold” made for popular singles while deviating the furthest in style from the core aggression by which AFI had come to be defined. And while one can make the argument that the most popular songs are the most memorable, I’ll suggest differently.
“Dancing Through Sunday,” while not belonging to mainstream rotation, is a fan-favorite and does the best job of demonstrating the group’s sonic evolution while still keeping one foot firmly in their punk roots. A fierce, upbeat song, it lyrically toys with juxtaposing the ideas of dance and sadness; the dark-and-twisted overtones are pretty exaggerated and won’t be winning over any adult fans here a decade later. However, the song most notably incorporates both the shrill vocal stylings of the AFI of old along with the deeply hooky chorus, contributing to the band’s newfound accessibility - “ohhhhh”s aplenty! Not to mention the presence of a hammy guitar solo following the bridge, which I may or may not have had playing the first time my dad ever took me to drive on a real highway…it totally shreds. – Adrienne Ray Fisher (@adriennerayfush)
How the album changed the band’s future
Sing the Sorrow was the sixth release from AFI, but one of the firsts to have mainstream success. It opened up the band to a larger audience as they charted on Billboard’s top ten. Songs such as “Girl’s Not Grey” and “Silver and Cold” became increasingly popular. The band even won a VMA for the “Girl’s Not Grey” music video. This album gave the band their first mainstream success, which carried over into their next album, Decemberunderground. Being noticed on the charts and being exposed to a larger audience had definitely changed their future. They went on to get a slot on Saturday Night Live, headline festivals, and play in stadiums. Needless to say, Sing the Sorrow greatly helped the band’s future success. – Deanna Champman (@deechapman21)
If sex sells, then so should the synthesization and poetry that accompany its overall aura. And if Cex Cells felt oh-so right five years back, then Blaqk Audio’s 2012 release will dig even deeper. Davey Havok and Jade Puget of AFI released their sophomore full-length, Bright Black Heaven, in September, and they’ve taken a turn to a darker shade of grey.
With the album juxtaposing, what Havok describes in a recent PureVolume Q&A as, “up tempo, very fun and energetic…but [ ] also darker, shadowy moments,” Bright Black Heaven is an ironic club record. In 2007, Cex Cells was ahead of its time with its dub step and drum and bass tendencies. Now, the analog-gone-electronic duo is making their subtle gothic-intentions a bit more apparent with left-of-center chord progressions and lead lines, with consistent, Danzig-meets-Depeche Mode vocal consistency
“Cold War” opens the record with a bright and fiery hookiness - a honing of songwriting chops that the duo showcases heavily throughout Black Bright Heaven. Though slightly over-the-top in its SEGA, drum and bass videogame instrumental track, “Fade To White” brings Puget and Havok’s musical and melodic choices together in a way that the song’s high BPM is not overbearing.
To know that each band member write separately from one another is almost too much to swallow. Puget opens up a new Ableton session and has to anticipate or at least trust what Havok can and will take away from his track. Something that will layer it and deepen it further. The product is one whose music, melodies, harmonies, and lyrics coincide in a way that, one would assume, could only be written side by side.
Yet regardless of its conception, the record astonishes in its variety of tone. The middle portion of the album maintains those 80’s British invasion vocal tendencies, while the synthetic essence of each track varies in its effect. “Deconstructing Gods” is contemplative in structure and mesmerizing in its repetition. “Everybody’s Friends” is quintessentially clubby but, surprisingly, low-lying in melody. “Let’s Be Honest,” one of Blaqk Audio’s finest tracks, is Information Society-esque in its marchiness, and followed by ballads that change keys. By the end of it all, the listener finds himself in “Bliss” with where darkened reverberating glockenspiels meet 4-2 rhythms.