by Brittany Oblak, edited by Erik van Rheenen
The (not really that long) awaited yet highly anticipated return of Basement from their post-Colourmeinkindness hiatus is nigh, and quite up to par with the band’s previous output. Although taking a little bit of a turn from their beloved 2012 full-length, Basement has managed to follow the LP up with two original songs and a cover which, unlike most others, actually does the original song justice.
Further Sky certainly gives us a poppier side of this U.K. outfit than we got from Colourmeinkindness, starting the EP out with a dreamy ode to a damsel, titled “Summer’s Colour” that’s as sweet as it is captivating and melodic. Slightly more driving and more instrumentally related to their older material, second song “Jet” gives fans more of what they might think of as the band’s traditional sound. The song doesn’t sound like a total retreat back to Colourmeinkindness, but enough so to know that their keeping enough of their signature sound while still going full steam ahead.
Let’s keep the happiness flowing. Basement will be releasing Further Sky on July 29th via Run For Cover Records, but that won’t be all. The band has confirmed that sound checks on their upcoming world reunion tour will be the ground to writing new material for an eventual LP3. Check out an interview with Noisey here and a snippet below after the jump.
Shit, forget just the reunion. Basement are coming back with a new EP titled Further Sky as well. Stream “Summer’s Colour” here via Noisey or below after the jump.
Basement will be taking out Pity Sex, Superheaven, Cloakroom, Creative Adult, Ovlov, and Fell To Low on two separate legs of their US reunion tour. Check out the support legs and routing below after the jump!
Reading and Leeds have announced their newest lineup additions, which include Paramore and Queens Of The Stone Age as co-headliners alongside Basement, A Day To Remember, and many more. Check out the full lineup after the jump!
The Sad 16 voting round is pushing strongly into the trenches of March Sadness fame. Sad voters of PropertyOfZack have a few more days to cast their ballot, so Editor-in-Chef Erik van Rheenen put together a discussion on The Sad 16 And Why Are They Matter for us to take a stroll down emo lane. Read the Discussion and then vote to make sure your favorite bands push through to the Emo 8!
90’s Emo 1v4: American Football vs Jets To Brazil
Why they matter: With a nod to Joan of Arc and a respectful tip of the sailor cap to Cap’n Jazz, American Football was the short-lived project that set Mike Kinsella’s trajectory as an emo patriarch for nearly 20 years. Without American Football’s seminal album and not-quite-as-seminal-but-still-darn-good EP, there’d be no soft-spun crooning of Owen, no indie leanings of Owls, and no Their/They’re/There, a band that concerns itself almost as much with proper grammar as it does with mathy guitar riffs. Not a bad legacy.
Jets to Brazil
Why they matter: Jets gave punk rock elder statesman Blake Schwarzenbach an outlet for venting his frustrations and woes that didn’t rely on the punkish leanings of Jawbreaker. While Jawbreaker is defensibly just as pivotal to emo-at-large as Jets to Brazil, Schwarzenbach’s departure (airport pun not really intended, but heck, I’ll still accept credit for this one) for a more indie-rock slanted sound gave emo a chance to take a deep breath and stop sounding so dang angry all the time.
90’s Emo 2v3: American Football vs Jets To Brazil
Why they matter: While most will point to Pinkerton as the essential emo album in the Weezer discog, I’ll change tack and say The Blue Album probably did more for Weezer and the sound of emo than its younger brother did. The Blue Album proved that slaphappy nerd rock (“Buddy Holly”) and sad-bastard grievance-airings (“Say It Ain’t So”) could coexist on a single record, and that bands could bounce between the two touchstones without sacrificing one end of the emotional spectrum.
Why they matter: If Sunny Day Real Estate (more on them later, obviously) laid the groundwork for how emo was supposed to sound in the mid-1990s, then Mineral stood at the forefront of a myriad of second-wavers perfecting the formula to a T. Much of the Mineral sound — hazy instrumental bridges, rough-edged vocals that skirt around the right key, and dynamically jumping from soft to loud — has survived the ‘90s (a decade that wasn’t altogether kind to its emo mainstays) and well into the twenty-tens.
00’s Emo 1v4: Brand New vs Dashboard Confessional
Why they matter: Only an enormous voting campaign from upstart Dads kept Jesse Lacey and Co. off the throne last year. Deja Entendu was the album that made a whole lot of pop-punk fanboys realize just how transcendent Brand New’s emo/pop-punk hybridity could get, The Devil and God Are Raging Inside Me defies genre in its frenetic shifts in pace and tone, and, well, who knows exactly what Daisy is, but it’s loud, blisteringly raw, and altogether awesome.