Emily’s Army has signed to Rise Records and will be releasing Lost At Seventeen on June 11th via the label. The album was produced by Billie Joe Armstrong, who is also the father of a member in the band. Stream a new song and check out the track listing below by clicking “Read More.”
It’s time for The Weekly Tour Round-Up! There are a ton of great tours going on this winter and more are getting announced each week! Below you’ll find all the tours going on over the next few months, with newly announced tours listed above previously announced tours. So check out all the tours if you’ve missed any of them and make sure to mark them down on your calendars!
John Nolan, Geoff Rickly [05/10-05/18]
You, Me & Everyone We Know, Squid The Whale [05/10-06/06]
Cartel, State Champs [05/11-05/16]
Killswitch Engage, As I Lay Dying, Miss May I [05/30-07/08]
Cute Is What We Aim For, The Dangerous Summer [06/06-06/20]
Mixtapes, You Blew It!, Light Years [06/27-07/21]
City And Colour [09/14-11/08]
All Time Low, Green Day [05/29-07/04]
Jonny Craig [07/11-07/31]
Story Of The Year, The Swellers [08/16-08/17]
Previously Announced Tours:
We’re deep into the music portion of SXSW, and Jesse Richman had a hell of a third day covering the the grounds of Austin. Our third blog features Jesse discussing everything he wanted out of day three of SXSW, and everything he got out of it from the bands to the environment to everything else that surrounded the great day. Check it all out below!
At SXSW, everybody wants something.
Bands want to connect — with labels, with booking agents, with PR, with fans, with anyone who will give them the time of day. Brands want your ever-precious eyeballs, which by their estimation, are directly connected to your wallet. Bars want your cold hard cash, hosting upwards of a dozen bands over the course of a day for free under the assumption that you’ll enjoy a frosty beverage (or four) while you watch. And what do I want?
I want to dance! Consider that mission accomplished at one of the first sets of the day, a 1 p.m. show at Hipstamatic’s day party by San Francisco electro-pop duo The Limousines. Though they opened with a few old favorites, the majority of their set featured the debut of tracks from the band’s upcoming second LP, Hush. Judging from the handful of songs played today, Kickstarter backers should be pleased. The new tracks continue along the same path of danceable, thoughtful, moody synth-pop, though perhaps trending in a slightly subtler, darkwave-influenced direction. Though they fought with equipment problems throughout their set, in the end sunshine and smiles won. (Also, shout out to drummer Kerry Austin from Troubled Coast, sitting in with the Limousines and repping Pure Noise Records on his tanktop: backed hard!)
I want to party! An afternoon showcase paired Canadian prankster-oddball Nardwuar The Human Serviette with America’s party king, Andrew WK, in what was one of the wackiest sets I’ve ever had the privilege of experiencing. Nardwuar spent much of the show in the crowd. At one point, a group of ten of us supported him as he crowd-surfed alongside his keyboard, eventually climbing atop his gear, straddling it as both were carried back to the stage. He had no need to worry about his safety, as he donned a crash helmet sporting a prominent Canadian maple leaf stamp before the song. Andrew WK gamely played along on keys and backing vocals in a set that almost exclusively drew from Nardwuar’s reportoire, assisting with chants, shaking maracas, and generally having a good time: it would have been hard not to.
I want to hobnob with the rich and famous! At a late-afternoon showcase by Sacramento post-hardcore dudes K Sera, I turned around to discover Green Day drummer Tre Cool hanging out mere steps behind me, taking in the band’s impassioned bludgeoning of tracks from their just-released Collisions And Near Misses. If the band noticed, they certainly kept their cool, tearing through a half-hour of tunefully intense rock.
Billie Joe is out of rehab and Green Day are already writing new music. Billie Joe has also stated that he will not be “half-assing” any new material following his return. Check out what he had to say below by clicking “Read More.”
The Monthly Summary
The Weekly Tour Round-Up
Winter - Spring
Error 403 Forbidden
Squid The Whale on Black Veil Brides
Soul Patch (Ft. ETID Members)
The Industry With Jesse Cannon
The Weeds - “Sunset Eyes (Beautiful Life)”
To review Uno!, Dos!, and Tre! as separate entities isn’t fair: not to the readers, not to the listeners and, moreover, not to Green Day. And even though I thoroughly “unfaired” the situation by berating Uno! several months ago, the three albums carry a thorough line that must be taken into consideration before examining each third of the trilogy on its own.
To examine the trilogy’s parts before its sum is to take out of context Quidditch, or the half-blood prince, or any other important something in Harry Potter’s wizarding world. And whether or not Green Days pop-punk adventure succeeded, the trio (now quartet?) constructed a musical storyboard that should be read front to back before examining its individual stories.
However, since Uno! and Dos! were prematurely reviewed, so shall Tre!, for continuity’s sake. Maintaining objectivity separate from Uno! and Dos!, though, may or may not be possible.
“Brutal Love” is an intriguing exploration for Green Day - it is what a band of 40-something successful punk rockers should be doing. With 1940s backing “oohs,” a solid horn section, and an anthemic key change, Tre! kicks off with a strong sense of layered musicality. It’s one of the first unpredictable tracks of the trilogy. Even the traditionally pop-punk “Missing You” isn’t overtly wholesome and obvious. Perhaps it is its placement between two incredibly nuanced tracks - “Brutal Love” and “8th Avenue Serenade” - that makes “Missing You” feel satisfying.
“8th Avenue Serenade” is perfect on a variety of levels. It’s length, melodic thorough line, and interesting use of 4/4 time are all strengths that distract from the even stronger lyrical storyline. Lyrically, it embodies a dark kind of innocence that nearly all of Tre! illuminates. That juxtaposition is most obvious in “Drama Queen.” The swingy, sing-a-long musical quality of the track rubs beautifully against “Daddy’s little bundle of joy out of a magazine is old enough to bleed now.”
The over-used “bombs away” image in Uno! plays out nicely in this third of the trilogy. “X-Kid” is a fancy, coming-of-age piece that uses minimalist approaches with single guitar tracks paired with stadium-rather-than-punchy drum tones. It, rather than the juvenile “Sex, Drugs & Violence,” is an appropriate direction for the 40-something year old Green Dayers.
It’s hard to believe that not even quite a decade ago, the band responsible for “¡DOS!” received a handful of Grammy nods, had another platinum record on their hands, and in even later years made a musical out of their songs. Sadly enough, the truth is that with the poor decision to release this atrocious album, as well as two other albums in the package, this is where the once all-mighty Green Day stands today. No one was expecting an “American Idiot” performance, and certainly nothing compared to “Dookie” either, but this is more of a nightmare than anyone could have imagined.
The opening track, “See You Tonight,” plants misleading hope in your ears, as it is actually a decent song, probably the best on the album. Unfortunately, it also happens to be the shortest in length. It has sweet harmonies and an appealing acoustic guitar with a Simon and Garfunkel vibe that makes you feel gypped that it ends so soon, leaving you stranded with the next monstrous track, “Fuck Time”.
The rest of the tracks are completely insipid, with the exception of “Stray Heart,” which is contagious and catchy at best and features that signature Green Day bass line, but still nothing that will send you over the moon. The juvenile track “Makeout Party” seems like it shouldn’t be written by anyone over the age of 21, let alone a 41-year-old man with platinum albums in his pocket. Beside the immaturity of the track, it’s borderline creepy: “Hey, you got yourself a pretty little mouth/I think I wanna rub it the wrong way/Do you wanna spin a bottle, play a game of chicken?” The worst part, however, is that it actually gets worse than that. Way worse, thanks to a little gem titled “Nightlife.”
“Nightlife,” the lowlight of this entire album, features someone by the name of Lady Cobra who would appear to be a lesser — if this is even possible — version of Ke$ha, talking in a breathy voice the majority of the songs with lines like: “This is a circus and I know you’ll be my clown.” As awful as that line is, it may be somewhat appropriate considering the large majority of “¡DOS!” seems to be a poorly done circus with the band members as three big clowns, especially with this track playing in the background. As if the lyrics weren’t reason enough to give up on this song after about 5 seconds, it features Autotune that would make T-Pain depressed.