The sixth set of bands for the 2014 Vans Warped Tour have been announced via Fuse’s Warped Roadies. You can check out the lineup so far below after the jump and be sure to reblog the post with your thoughts so far!
by Ali Killian, edited by Erik van Rheenen
Imaginary Numbers makes me feel uncomfortable.
The EP forces me to remember lonely nights, crippling depression, the sinkhole forming in my chest. Tears perched on the ends of eyelashes blurring my vision. Confusion swirling through my skull. Wishing both to cease feeling and to experience something other than dark blue. Imaginary Numbers feels all of these things for me and then spits them back out.
I think The Wonder Years’ vocalist Dan “Soupy” Campbell said it best, “I think that most everyone I know involved in punk or hardcore is intrinsically fucked up on some level. There is something wrong with us. Maybe not ‘wrong’, but certainly different.” Though The Maine can hardly be considered punk rock, it’s fair to say that the band and its fans are certainly part of this weird little scene we have going on. To some degree, we’ve been there. Regardless of what mental anguish you’re battling, chances are someone who likes one of these bands that you like, too, has also been there. There’s a familiarity in the music; some common theme weaved together by strings of other themes and feelings and experiences to which we relate.
That’s what I hear in Imaginary Numbers.
by Becky Kovach, edited by Erik van Rheenen
Starting out in music at a young age can be difficult. The sound you latch onto at first might not be what you find yourself drawn towards as you grow up. Case in point: The Maine.
When the band released its first full-length Can’t Stop, Won’t Stop, in 2008, they were just young kids from Arizona singing lighthearted songs about girl troubles. But their most recent release, Forever Halloween, is a far cry from the breezy pop rock that launched The Maine’s career. Play the two back to back, and you’d hardly believe it was the same band. Though in many ways it’s not the same band. Forever Halloween depicts a version of The Maine that is not only more mature, but more confident as well.
The Maine balances slow and somber alternative rock rhythms with its pop rock roots throughout the album, letting them manifest in the captivating choruses of songs like “Take What You Can Carry,” “Run,” “Happy,” and “Fucked Up Kids.”
“Take What You Can Carry” kicks off the album with hollow percussion, sleepy piano, and echoing vocals before warmly opening up. “Happy” has a similarly upbeat feel, brought on by rolling guitars and animated background vocals. Though a closer listen reveals that the song is about being anything but happy.
Meanwhile “Run” and “Fucked Up Kids” have an edgier tone. “Run” features a dynamic bass line that underscores the otherwise roomy verses. Its catchy chorus uses sharply distorted guitars and a playful melody to subdue its morose lyrics (“You put the gun in my hand / So now run, I’ll stall the demons / But you really should be leaving.”) Steady guitars and splashy cymbals anchor “Fucked Up Kids,” a song about doing your own thing. It’s got the kind of chorus that, despite not being the catchiest on the album, will needle its way into your brain because of its universality.
It’s that time of year again. PropertyOfZack is very excited to be bringing back our 10Of’13 End Of The Year Lists feature with all of your favorite bands, record labels, and other agencies that make the music and touring world so great. To kick off the feature, we’re bringing you a full 10Of’13 from all of the bands on the 8123 family including The Maine, Nick Santino, Lydia, and This Century. Check out their picks below and make sure to check back every day for more great 10Of’13s!
December is here, and there are a surprising few great records coming out this cold month that PropertyOfZack team members couldn’t be more stoked to hear. In today’s new Discussion, we’re highlighting our personal Most Anticipated December Releases. Check out our list below and feel free to reblog with what you’re looking forward to as well
Cold Crows Dead - I Fear A New World (12/03)
I’m not sure “anticipation” is the right word for what I feel regarding the debut full length from Cold Crows Dead. I’ve had the album demos for so long, and loved them so much, that they actually landed in my annual Top 10 albums list last year. So I guess what I feel is more like “excitement” — excitement that the duo (multi-instrumentalist/pop-experimentalist Paul Steel and emotive rocker Murray Macleod of Xcerts fame) finally get to unleash their better-than-the-sum-of-its-very-good-parts and long-in-the-making collaboration on the world; excitement that the world finally gets to hear this wildly inventive collection of psych-goth-music hall-pop tunes.
CCD acknowledge the heavy debt their sound owes to Sparklehorse (if you’re unfamiliar with Southern Gothic weirdo Mark Linkous’ project, you’d best get familiar, especially if you’re a fan of albums like Radiohead’s Kid A and Wilco’s Yankee Hotel Foxtrot, which followed closely in his stumbling, circuitous footsteps), but its the way the duo melds that instrumental eccentricity with pop formalism that makes Cold Crows Dead special — their songs are stacked full of memorable hooks, hooks that are only made stronger by the playful unpredictability that swirls around them (there’s more than a hint of Brian Wilson to the affair). I don’t know what the world will ultimately think of it all, if anything. But now that you’re in the know, you might as well be ahead of the rest of the world on this one. - Jesse Richman
Transit - Futures & Sutures (12/03)
Few records polarized a fan base quite as divisively as Transit’s Young New England — the only thing more jumbled and erratic than the soundscape the Bostonians captured on record was the album’s rocky reception. But if Futures and Sutures proves anything, it’s that Transit is probably still not done reinventing its sound, and it’s probably for the better that they refuse to shy away from reimagining their own back catalog. “Young New England” gets revamped into a straight-up rocker, “So Long, So Long” gets endowed with some seriously cool vocal effects, and the EP should sway some fans who were left less-than-impressed by Young New England back to the Transit flock. - Erik van Rheenen
The Maine - Imaginary Numbers (12/10)
It’s not unusual for bands to drop an acoustic EP in between full lengths; heck, in a sense, the Maine have done that before (2010’s In Darkness And In Light featured a handful of acoustic reworkings of previous songs.) But The Maine are rarely ones to take the predictable path, and Imaginary Numbers, while acoustic, will feature all originals. The band’s June release, Forever Halloween, found the Phoenix fivesome moving into yet another new stylistic phase, one strongly influenced by Americana and the classic pop songwriting of ’70s rock, more coherent in sound than previous releases (if less even in quality). Will Imaginary Numbers’ compositions push further in that direction, or swerve once again? With the Maine, you can never be quite sure where the path will lead, but you can pretty well trust that your journey will be a pleasant one. - Jesse Richman
The Maine have posted the artwork and track listing for Imaginary Numbers. Check out the details ;below after the jump.
The Maine have released a new acoustic song called “Raining In Paris.” Stream it below after the jump.