Paramore North American Fall Arena Tour With Metric, HGB
Paramore North American Fall Arena Tour With Metric, HGB
We all get excited to hear about guest appearances on upcoming albums that we’re looking forward to, even if they end up being terrible. Hopefully they end up being pretty damn good though. We thought it’d be great to do a PropertyOfZack Friday Discussion on The Best Guest Appearances from multiple bands in our scene. We put the tracks together in an Rdio Playlist to listen to as you read the Discussion as well. Check out our list below and feel free to reblog with some of your favorite guest appearances!
The Wonder Years - “All My Friends Are In Bar Bands (ft. Shane Henderson, Dave Mackinder, Matty Arsenault, Jamie Rhoden, Nik Bruzzese, Charlie Saxton, Nick O’Neill)
"Defend Pop Punk," as belabored of a mantra as it is now, probably peaked in 2010, when Man Overboard slapped the trademark rifle on their debut full-length art, but The Wonder Years probably shouldered the bulk of the defending. And after The Upsides closed with the rousing "All My Friends Are in Bar Bands," us pop-punk fans should’ve just considered the genre defended.
The list of singers featured on the track still reads like a veritable who’s-who of pop-punk (If pop-punk needed defending, The Wonder Years brought an army to do it): Shane Henderson of Valencia, Dave Mackinder of Fireworks, Matty Arsenault from A Loss For Words, Title Fight’s Jamie Rhoden, and Nik Bruzzese of Man Overboard fame (oh, and Charlie Saxton, of all people). The guest spots themselves are short and sweet: everyone takes a quick step up to the microphone to sing “I’m not sad anymore / I’m just tired of this place / If this year would just end / I think we’d all be OK.” And with each emphatic delivery, you start believing it. - Erik van Rheenen
blink-182 - “All Of This (ft. Robert Smith of The Cure)”
Cataloging a band’s evolution in sound can be a fun process. “Well, it makes sense that song X sounds like this because the last song on their previous record started to go in this direction…The new album follows suit.” Or, “The guitarist in the band is new and his last band sounded like this, so here’s why that guitar part on song X sounds like this.” So on and so forth.
blink-182’s Untitled record has a lot of songs that make you question how they got there. ”All Of This” is probably the best possible example of that. It’s well known that Mark, Tom, and Travis grew up loving The Cure and Robert Smith, so being a fan of the The Cure or not, it’s rad to hear how the song came together.
The track is full of the back and forth known between blink’s vocalists, but Tom’s nasally vocals clash in a great sense with Robert Smith’s low, experienced, and calm verse and choruses. The song is the darkest sounding track on the album along with “I Miss You,” and it carries a special eeriness. “All Of This” in general is one of the songs on Untitled that proves its strength and well-roundedness. - Zack Zarrillo
Fall Out Boy - “What A Catch, Donnie (ft. Elvis Costello, Travis McCoy, William Beckett, Gabe Saporta)”
"What a Catch, Donnie" is the swan song of Fall Out Boy’s Folie a Deux. It’s not the album closer, but it is the album’s closure; a beautiful, piano-based ballad that focuses all of FOB’s talent and snark into one powerful, emotional track that seems to say everything at once about the state of FOB’s career and relationships without actually saying anything. I’ve always felt that it was one of, if not the, most important song Fall Out Boy’s ever written, and the sense of closure comes with particular obviousness in the finale.
Not only is there a reprise of a lyric from another Folie track sang beautifully by none other than Elvis Costello, there’s also a quilt of past lyrics interwoven into the end and sung by a cast of Fall Out Boy related characters, from Travie McCoy (Gym Class Heroes) to William Beckett (The Academy Is…) to Gabe Saporta (Midtown/Cobra Starship). The significance of having all your best friends proverbially in the same room to close out a song that seems indicative of the dissolution of your band is not a detail to be overlooked, and the homage paid to old lyrics could even be considered a eulogy.
Fall Out Boy has never done anything without a double entendre or a deeper meaning, and “Donnie” is no exception. Thank God this swan ending wasn’t the last drop in the pan, though - otherwise we never would have gotten Elton John on “Save Rock and Roll.” - Adrienne Fisher
Contrary to popular belief, there was no skating or surfing at Skate And Surf Festival on May 18. For the first time in8 years, the music festival was brought back in place of the failure that was last year’s Bamboozle Festival. In fact, Skate And Surf Festival pre-dates Bamboozle Festival, originating in 2002 in Asbury Park, New Jersey.
Originally, the festival was supposed to go on at Plaza Green at iPlay America in Freehold, New Jersey but was moved to Six Flags Great Adventure for the weekend by popular demand, although most attendees will agree that Six Flags is one of the worst venues for concerts.
Unfortunately, Mother Nature was not on Jersey’s side, casting the entire day with grey skies and light showers. Aside from the bad weather, Skate & Surf Festival was somewhat of an actual disaster for its first round. The setup alone for the event was an absolute mess. On one side, three stages are directly next to each other while the main stage — almost the same size as the others — stands a few feet away from another hidden stage.
Even though it seemed like everyone was here to defend pop punk, there were so many different types of music featured at the festival, including hip-hop/rap, alternative, ska, electro, indie rock and screamo. With the stages being so close to each other, there were a lot of mixed signals throughout the day: in between sets, it was almost impossible not to hear the next band over.
At the Aquarian Better stage, pop-punk bands like Mixtapes put on energized 30-minute sets before spectators got too soggy from the rain. (The bassist even performed without an actual bass for most of the gig, which was impressive.) The Ohio natives were the most interactive band by far, engaging the crowd in witty dialogue in-between all of Maura Weaver and Ryan Rockwell’s lighthearted male-female call and response sing-alongs.
Skate And Surf Festival is just a few days away now, and we hope you’re all as excited as we are for an incredible weekend at Six Flags in Jackson, NJ. We thought it’d be a great idea to put together a list of POZ’s Must See Bands And Acts for the first day of the lineup today, with a day two feature coming tomorrow. Check out ticket/lineup information for the festival here, our list below, and reblog to let us know who we need to see while we’re at Skate this weekend!
Streetlight Manifesto, by Erik van Rheenen
Ska fans can wipe that tear from their eyes and pull on their skanking shoes: the beginning of the end may be here, but not before Streetlight plays a homecoming show in Jersey under the bright lights at Skate And Surf. With label woes plaguing the release of The Hands That Thieve, the band will probably blow off some steam at their set and show off some of the new material, which is, in fact, killer. From old fan-favorites to new sing-along anthems, fans will make Streetlight Manifesto feel right back at home. Mostly because they will be.
Balance & Composure, by Adrienne Fisher
Balance & Composure has been fairly quiet ever since wrapping up a pretty hefty winter headliner earlier this year with The Jealous Sound and Daylight, only to reveal just a week or so ago that that time’s been leveraged into finishing up their second full-length record, slated for release sometime this fall. I know I’m not the only one busting out party hats to celebrate that fact, and being that their set at Skate and Surf is the only one publicly on the books for the foreseeable future, we the people should probably resolve to make sure we’re there for it. While we can always cross our fingers for a preview of a new song, the truth is that we’re definitely not over 2011’s Separation and will still eagerly lend ourselves to become soul-crushed by that opening rhythm section in “Burden.” If you’re a Balance fan, make it a point to catch this set – you never know, those songs from Only Boundaries might drop out of rotation once the new record comes out and you wouldn’t want to be that guy whining about how you missed out on hearing the old stuff, right?
Transit, by Jesse Richman
It’s hard to remember the last time anyone in the scene released an album as divisive as Transit’sYoung New England— whether they loved it or hated it, everyone seemed to have a strong opinion. As they bring that album to the biggest stage yet, will the crowd be with them or against them? Has the criticism beaten Transit down or made them stronger? And has Joe Boynton’s voicereally changed? We’re looking forward to finding out the answers.
Andrew WK, by Erik van Rheenen
When it’s time to party we will party hard.
I mean, seriously. What will be more fun than catching a set from the King of Positive Partying himself at an amusement park? Since the eruption of his smash hit “Party Hard” in 2001, Andrew WK’s become a jack-of-all-trades: motivational speaker, TV show host, producer, and of course, sticking to his singing/songwriting guns. Dust off your copy of I Get Wet, reacquaint yourself with some of WK’s early 2000s party rock anthems, and let’s get a party going on Saturday afternoon.
LIGHTS, by Sydney Gore
The 24-year-old Canadian singer-songwriter has a way of enchanting anyone who listens to her synth-pop tunes. With a traveling background as a missionary child, Lights takes the crowd on an adventure of their own to a digital dimension where music is the only savior. Her most recent album, Siberia was nominated for “Pop Album of the Year” at the Juno Awards last year. Don’t let Lights’ “manic pixie dream girl” physique fool you—she goes hard at live shows, especially when the heavy electronic beat start pulsing. Lights is always a delight to watch, so definitely don’t miss out on her set—it’s bound to be electrifying.
Mixtapes, by Erik van Rheenen
Ordinary Silence doesn’t hit shelves until the end of June, but fingers crossed these Ohioans share a few new tunes with us come this weekend. The uber-productive pop-punkers (this marks their second full-length in as many years) keep the bouncy tunes coming, and the dual vocal attack of Maura Weaver and Ryan Rockwell (and their kinda-sorta ridiculous stage banter) is always a blast to sing along with. There aren’t many bands to usher in summer with, and Mixtapes sets are pretty much always guaranteed to be a good time.
The Monthly Summary
Albums Out This Month
The Weekly Tour Round-Up
Matt Pryor And James Dewees - 04/25/13
Skate And Surf Festival - VIP Tickets [Ended on May 3rd]
Make Do And Mend, CG, DMND YTH - Tickets [Ended on May 3rd]
Make Do And Mend, CG, DND YTH - Tickets [Ended on May 8th]
Skate And Surf Festival - GA Tickets [Ended on May 8th]
Take away all that electronic noise of her instrumentals, and Lights’ beautiful voice would still blow the speakers out. On Siberia Acoustic, the Canadian electro-pop star strips down all 10 songs from her previous album and shows off why she’s a force to be reckoned with. The acoustic album also includes a few familiar artists from past tours, turning some songs into duets.
Adam Young, of Owl City fame, comes in on the second verse of “Cactus In the Valley,” transitioning the duet into a powerful piano-driven ballad. On “Peace Sign,” Coeur de Pirate chimes in after the chorus with a mouthful of French. It’s probably the most unexpected element of the track, but it works well with the song’s acoustic guitar. This is definitely one of the best tracks, almost reminiscent of finding summer in the midst of winter.
Formerly the opening track on the original album, “Siberia” gets majorly slowed down, but the melody flows with ease on the piano. The addition of Max Kerman of Arkells on vocals probably seemed like an ambitious idea, but to be honest, it was probably the biggest mistake of the album. Kerman’s deep voice doesn’t quite match with Lights’ higher pitch, and he basically ruins what could have been a pleasant duet if a compatible vocalist had been selected instead.
On the flip side, “Where the Fence Is Low” wasn’t originally a standout track on Siberia, but when there are only a few acoustic guitar chords being strummed behind Lights’ divine voice, there is a whole new side to it. The same can be said about “Suspension” and “Heavy Rope,” where Lights’ hauntingly soft voice resonates deep within the ears.
There’s also something about “Toes” that sounds slightly better when it’s not acoustic. Somehow, it loses the excitement and high energy it once possessed when accompanied by the synthesizers and hard electro beats. Lights sounds vulnerable and even a bit helpless as she sings at a whisper. It isn’t necessarily a bad thing; it’s just a completely different vibe.