Issue 7

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STAFF FOUNDER, EDITOR-IN-CHIEF

CO-FOUNDER, MANAGING EDITOR

Dom Vigil

Shannon Shumaker

CONTRIBUTING WRITERS

Blake Britton Dan Ha Dillon Crader Dom Vigil Gabrielle DB

Jordan Altergott Kevin Menendez Nikki Steele Seth Wood Shannon Shumaker

CONTRIBUTING PHOTOGRAPHERS

Jordan Altergott Nick Reece Shannon Shumaker Svetlana Joukova

*COVER PHOTO BY JUSTIN BORUCKI

THANK YOU

We want to extend a huge thank you to everyone who has helped The Prelude Press during our first year as a publication! It’s hard to believe that a year ago, this was just an idea that we had, and now we have an awesome team of writers and photographers behind us. Our staff, while small, is made of some of the hardest working people we know, and we’re eternally grateful to be able to call them our friends. A BIG thanks goes out to all of our readers and supporters! And The Prelude Press wouldn’t even exist without all of the amazing people that have helped us by giving us a chance, giving us a story or giving us some advice during this first year. We’re talking about all of the publicists, management teams and bands that gave us a shot when we had virtually nothing to show them in the beginning. Steve Karas, thank you for giving us our first interview with a national band, for always supporting us and introducing us to some amazing artists that we would have never heard of if it weren’t for you. Austin Griswold, thank you for giving us our first show coverage when we were merely a tumblr blog with barely any content. There are so many people to name, but we also want to thank the entire team at Big Picture Media for being some of the nicest and most genuine people we’ve ever had the opportunity to work with. Thanks to: Ilana Gold and the Atlantic Records team, Jesea Lee, Tom George, Talia Miller, Michele Stephens, Amy Walsh, Heidi Robinson-Fitzgerald, Mike Cubillos, David McDonald, Natalie Bisignano, Tony Shrum, Stephanie Marlow, Lindsay Fariello, Monica Seide, and the publicity teams with Major Transmission PR, Press Here Publicity, New Ocean Media, Razor & Tie, Go Lightly Media, Fearless Records and Hopeless Records, and anyone that we didn’t list because we’re running out of space. Last but not least, we have to send a ton of love and a huge thank you to the wonderful Reybee team. Rey and Josh, this issue wouldn’t be possible without you. Thank you for believing in us and giving us a shot!

- Dom & Shannon

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06. Kaji

10. Sterling Fox

12. In Case You Missed It...

16. Live Photos

24. You, Me, and Everyone We Know

32. All Inclusive - Disobedient Tour in Philadelphia, PA

38. Album Reviews

46. Staff Picks

FAVORITE 10 YEAR ANNIVERSARY ALBUMS THEPRELUDEPRESS.COM - 5

KAJI

They say that you’re the sum of all of your past experiences, and while that may be a very broad statement, it definitely rings true when it comes to Kaji. It isn’t very often that a band knows exactly how they want to be perceived, how they want to conduct themselves or what their future looks like right off the bat, but this Denver alternative-funk band is a rare exception. The band’s frontman and mastermind, Kevin Gentry is no stranger to the music scene, after all. After years of being in and out of bands, he knows just how he wants Kaji to operate, and he isn’t afraid to say so.

“It’s completely different,” he said as we sat in his living room, discussing the new project and his past endeavors, “Hardcore music - most of it is not so dynamic, so with funk you have to think of different things, different instrumentation. A lot of funk is based around a group or based around a beat, similar to how hardcore and metal have the heavy parts and breakdowns. Those parts are essential for that kind of music, and the essential part for funk is the groove, the dance, the beat.”

The vast difference in sound between Gentry’s past projects and Kaji definitely helps sup Kaji marks the first project that Gentry has port the frontman’s urge to write something that been able to spearhead and therefore, it is also he wanted to hear. And in writing something for the first time that he has been able to do exact- himself, that included releasing a full-length album ly what he wants. First and foremost, Kaji sounds instead of just an EP, as most new bands do to absolutely nothing like any of Gentry’s previous begin with. It may seem like a daunting task for a projects. Within seconds of listening to the band’s relatively young group, but it came easy for Genfirst full-length, Pedal Rose, it’s almost impossible try, who had a backlog of around forty songs that to believe that Gentry was in a hardcore band be- he eventually narrowed down for Pedal Rose. fore starting Kaji.

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“I just wanted to write a full album that was like some of the albums that I grew up listening to, where you listen to a whole album straight through and just get lost in it,” Gentry explained. “What I don’t like about EPs is you’re not so invested in it.

I’ve never dived into an EP as much as I have with an album. Some of the most inspirational albums are albums, they’re not EPs.”

things that I still haven’t told people. They’ll come when they come and no one is gonna know and it’s gonna really keep it very secretive. I like that way because it’s more fun - you never know what’s gonna happen.”

Even during our conversation, Gentry was careful with his words. He knew exactly what information he wanted to divulge and what he wanted to keep secret, until he is ready to release it, that is. In a way, he’s right - that’s what makes Kaji so exciting. When you never know what’s going to happen next, you’re more likely to keep a close eye on a band.

That’s not the case with Kaji, however.

Again, Gentry knows exactly what he wants, and that’s why the other members of the band - keyboardist and guitarist Dan Ha, Bassist JJ Powell and drummer Taylor Hamill - were all very carefully chosen. On top of that, Gentry made it very clear that if they no longer wanted to be part of the project, they had no obligation to stay.

He even goes to the extent of keeping his bandmates in the dark at times. In fact, Gentry was very careful in choosing musicians to join Kaji, be On top of the huge hurdle of releasing a cause he knew he’d need to find people who would full-length right off the bat, Gentry also kept Kaji be comfortable not knowing everything all at once. relatively hush-hush until he was ready to begin “I initially wanted to create a base and then find releasing new music and teasing his friends and people that were really into the project and realsoon to be fans. There was an air of mystery about ly saw the vision that I had for it,” he explained Kaji even up until the band’s debut show in early when speaking about the rest of the band, “These 2015, and that’s exactly how Gentry wanted it. guys that are on board are basically people that I’ve been playing music with for a very long time,

“I like mystery. It’s more fun!” he explained and they know what I’ve been working on and they with a laugh, though he was quick to dive into the know what I want to do with it.” deeper reasoning of the secrecy surrounding Kaji.

“I think it’s more exciting. As a musician, you’re It’s a change from the (usually) democratic putting out a product, and don’t way that most bands choose to you want it to be exciting? I’ve “...You go out of the way organize themselves, and Genbeen working on it for maybe to see the bands that you try is well aware of that. While two years, and I didn’t want to he was quick to defend his “old” want to see, and that’s lead people on for two years way of doing things, it was apuntil I was ready to release it.” what I want to create.” parent that he prefers the way - KEVIN GENTRY that Kaji runs now. “In my older

“I feel like this culture bands, it was very democratic these days is a lot of, ‘I wanna know everything and it was helpful on a relationship standpoint with about this artist. I want pictures, I want music, I the guys in the band because everyone seems to want videos…’ and if you don’t have all of that be equals, but it’s very contradicting when everywhen you release something, people lose interest one has very strong visions and they’re all differlike crazy. And it sucks, but it happens,” he contin- ent,” he explained. “A lot of bands experience that, ued, “That’s what I try to keep in mind - what do I and it’s just a waste of time and energy, and it’s like to focus on when I listen to music, and why do not collaborative and it’s not creative. You’re not artists inspire me personally?” moving forward if you’re always fighting.”

“I really wanted to create a sense of won- Gentry clarified, “I sat these guys down derment and a very unpredictable future of this every time I had one of them join the band and I project,” he said with a smile, “So there’s a lot of was like, ‘This is what it is, this is what I’m doing.

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There’s no ties to this. You guys can leave whenever you want, you don’t have to put in money, I’m taking care of that myself. If you guys are in, alright. More power to us.’” Unsurprisingly, the open door and open communication, as well as a set goal, made it easy for each band member to know exactly what was expected of them, and therefore, made it incredibly easy for them to function as a band.

“Each track is a different stage in love that I wrote for my fiance,” he explained. “It goes through everything, it’s not just all happy and enjoyment. In a relationship, you go through doubts and questioning, you get in fights… You know, there’s a rebirth in a relationship. There’s all of these different things that I’ve experienced that I think define relationships and different stages you experience.”

Admittedly, releasing such a personal al With a solid group put together and a huge bum as a debut was definitely a little nerve-wrackbacklog of songs already written, it was time for ing, but as Gentry pointed out - as a musician, Kaji to release their first full-length. But, in true Kaji all of his songs are personal. “It’s just about how fashion, Pedal Rose isn’t just any normal album. you can translate that personal feeling to the auOn top of being the band’s debut release, Pedal dience,” he said. “That’s the trick. You don’t want Rose is also a concept album, and one that is very to make it too simple, because your audience isn’t near and dear to Gentry. The concept? Love. dumb - your audience is just like you. You have to translate it without dumbing down your product or 8 - THEPRELUDEPRESS.COM

their shows is something like, ‘Come to our show please! Buy a presale!’ and it’s like begging. If you have a product that they want to see, then they’ll

With already so much under their belts, it’s see it. If you have to beg them to come to your hard not to ask: what’s next for Kaji? Unsurpris- show, your product isn’t right. Maybe to a certain ingly, it seems as if Gentry is ten steps ahead of extent - maybe I’m being a little extreme there everyone else, with plans to play plenty of shows but I think you go out of the way to see the bands in 2015. In true Kaji fashion, though, they aren’t that you want to see, and that’s what I want to cregoing to be just any normal shows. “We’re gonna ate.” have a lot of shows this year, and I’m not necesFor future albums, Gentry plans on incorsarily gonna promote them,” Gentry said with a mischievous smile. porating the full band more, but anything more than that is a mystery, which is exactly what Gen He explained, “This year, I’m more focused try wants to create. What makes Kaji so intriguing on communicating to the fans better and com- is their unpredictability, but one thing’s for certain: municating to the listener. Part of that is making 2015 looks like a great year for this band. something for them that they want to go see, and PHOTOS AND STORY: Shannon Shumaker that’s a challenge. For a lot of bands, promoting without making it too complex. It’s hard to do, but it’s something you have to master as a musician.”

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STERLING FOX

You may not be familiar with the name Sterling Fox, but chances are, you've listened to a song that he has written recently. Having written songs for several globally acclaimed artists like Lana Del Rey, Adam Levine, Avicii, and Madonna on top of starting his own record label, Silver Scream Records, it's needless to say that Sterling Fox has been busy. Now, he has taken the time to focus on his own music, with his new song "Freak Caroline" out now, and even more plans for 2015.

You’ve been involved in many of different aspects of the music industry - from songwriting to producing to starting your own record label - is it nice to be writing music for yourself for a change?

Sterling Fox: Hell yeah. I can say whatever I want.

It’s like living on brussels sprouts for 10 years and then realizing there are thousands of other foods you could eat instead... Maybe a bad analogy, but yeah, it’s rad. The songs are more reflective of who I really am.

How does writing for other artists compare to writing for yourself? Do you have higher expectations for yourself when you’re working on your own music?

Yes, my expectations are much higher, but I’m not as boxed in. I can make dumb melodies on purpose and sing them like the Beegees or can make verbose narratives that go over everybody’s 10 - THEPRELUDEPRESS.COM

head... Anything goes. My latest song “Freak Caroline” was written over the course of four months and produced off and on for almost a year - so it does get OCD at times. I think lyrically, I definitely hold myself to a high level, not necessarily of quality, but of being bizarre.

Can you tell us a little bit about your single, “Freak Caroline?” What inspired it?

Without naming names, the song is about a privileged New York City girl who likes to do a lot of drugs and dance. It’s an ode to the “trustafarian,” of which the city is teeming. It’s not necessarily critical of the lifestyle, cause hey, if your parents are loaded, why not... But it’s just describing a day in the life. It typically starts out at Balthazaar or Starbucks where a couple of emails are sent to feign some type of ambition or career aspiration, detours through Soho where a “meeting” is held with her other trust fund friends over a vodka tonic, and typically ends blowing adderall in a hipster club in Williamsburg with a couple poorly lit self-

ies thrown on instagram to prove to the world she exists. For some people it’s the American Dream.

Somehow the track is also a reference to Neil Diamond’s “Sweet Caroline” because why not?

along the way, that’s amazing.

I’ve been asking a lot of people this question lately because I think it’s a really great discussion topic, and I’d love to get your Did you have any specific goals in mind opinion on it - so if you could change anywhen working on the track? thing about the music industry, what would you change and why?

As it came together, I knew I wanted it to be swanky and snotty and reflect the main character. The I wouldn’t change anything - it’s amazing! Just kidglam style guitar solos seem to do that well. I think ding. I would probably force all bloggers, record it was a conscious effort to have as many guitar execs, industry people, etc... to all start their own solos as possible - I put down two and there’s a band a la “School of Rock” and the artists would third one snuck in at the end, as well. Definitely all come to their shows and just throw rotten vegwanted to make a 90s brit-rock influenced tune. etables at them and tell them how bad they were Those are some of my biggest influences lately - and graffiti their cars and sleep with their wives/ Blur, Suede, James, etc. I think at the end of the husbands and whip them with Indiana Jones style day, I just wanted to make something that was not whips every time they said the word “branding” trying to be hip or suave and just make some fun and inject them with ebola and just generally ruin fucking rock music that doesn’t take itself too se- their lives. A year later, after they’ve paid their dues riously. and been without salary and health insurance and have had to melt down their platinum records from What’s your mindset when you’re working their old offices for scrap metal for tooth fillings and on new material? Is there anything song- have had to prostitute themselves and have had to writing-wise that you try to accomplish (or eat moldy bread off of a bathroom floor at a cocksteer away from)? roach infested biker bar in Topeka, they can return to their previous posts as harbingers of stupidity I try to stay away from bad songwriting. Anything and maybe they’ll do a better job not releasing else is fair game. shitty ass music.

Which artists or what kind of music in- Do you have any big plans for 2015? What spires you when you’re working on new would you like to be able to accomplish this material? year?

I go back to the classics, man. (I feel like I have to say “man” when I’m talking about classic rock, so bear with me...) I listen to Bowie, Stones, Beatles, Sparks, Paul Simon, Dylan, the Boss, Talking Heads, Pixies, Queen, Iggy, Lou, Nico, you know man, all the strange rock and rollers. Sometimes I’ll get with some newer-ish like Arcade Fire, Ty Segall, Jack White, St. Vincent, but they’re pulling from classics so I usually go to the source.

I’m releasing an album! Calling it “Greatest Hits.”

Might actually drop an EP in April as well and press some more vinyl. Also making it a goal to give away all of my music for free this year. It will be available on iTunes and stuff, too, but if you don’t have 99 cents, grab it off my soundcloud!

What would you like listeners to be able to take away from your music?

Thank you! Nothing to add... I’ve said too much, haven’t said enough. Thought that I heard you laughing...

Enjoyment. Or hating it... Whatever. I don’t really care. It sounds incredibly selfish, but I mainly make it to entertain myself. If a few people like it

Thanks for taking the time to chat with us!

Is there anything else you’d like to add?

PHOTO: Provided STORY: Dom Vigil

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WORLD TOUR

FEATURING: PIERCE THE VEIL, SLEEPING WITH SIRENS, MALLORY KNOX & PVRIS Saturday, January 31st @ The Fillmore Auditorium, Denver, CO

When I arrived at The Fillmore Auditorium for the Denver date of the World Tour to find a line of excited fans so long that it literally wrapped around the block, I knew I was in for an exciting night. The anticipation was palpable, and by the time the doors opened and the crowd began piling in, kids were rushing to be right up front for undoubtedly one of the most anticipated shows of 2015. After all, the last time Pierce The Veil and Sleeping With Sirens were in Colorado for the first leg of the World Tour, the show sold out before many fans could get tickets. The venue was an upgrade from the 900 capacity Boulder Theater (where the bands played in December) to the Fillmore Auditorium, with a capacity of over 5,000.

Needless to say, fans were in for a real treat.

The first band to perform was up and coming PVRIS. With a lot of buzz around the band lately (and being a pretty big fan of them myself) I was definitely excited for them to take the stage, and 12 - THEPRELUDEPRESS.COM

within the first few seconds of their opening song, “Smoke” I wasn’t disappointed. Despite their lack of space to move around much (Pierce The Veil and Sleeping With Sirens’ gear seemed to take up much of the stage behind a black curtain) PVRIS were more than capable of putting on an incredible performance. On top of their borderline eerie melodies and huge choruses, vocalist Lynn Gunn’s voice sounded album quality and then some. Many of the fans up front seemed to be familiar with the band’s music as well, and PVRIS definitely fed off of their energy. By the time PVRIS left the stage (sadly only five songs later) I wondered if anyone would be able to top their stellar performance.

Following PVRIS was UK group, Mallory Knox. I honestly had never listened to them before seeing them take the stage at The Fillmore, so besides having heard that they’ve been getting a lot of buzz overseas, I didn’t quite know what to expect. Once they took the stage, it was nearly impossible to take my eyes off of vocalist, Mikey Chapman, though. Not only did his voice sound great, but the happiness that he exuded on stage was contagious - he was all smiles throughout their entire set, and if I had to guess, it was probably due to the nearly sold out crowd giving Mallory Knox their undivided attention. While I hadn’t done my

homework, it seemed that many fans in the crowd had, as they were singing along or bobbing their heads to the music. While they didn’t quite have the same energy as PVRIS, they seemed to have the crowd’s attention, and at the end of the day, that’s what matters.

As soon as Mallory Knox left the stage, however, the excitement in the venue seemed to skyrocket. Gear was loaded off of the stage and Sleeping With Sirens’ LED screens and equipment were revealed behind a black sheet, and within seconds, fans were screaming even though nobody had even taken the stage yet. When the lights finally dimmed at the band walked onto the stage, however, the room seemed to explode. Opening with their newest single, “Kick Me,” Sleeping With Sirens easily commanded the stage as LED screens lit up with lyrics to the song. It was sensory overload, but in the best way possible. Vocalist Kellin Quinn had the attention of everyone in the venue, but that’s not to say that the rest of the band wasn’t performing to the best of their ability, as well. Bassist Justin Hills, for instance, was all over the stage, screaming along the lyrics and getting the crowd pumped up. Highlights of the band’s set were definitely in their cover of the Goo Goo Dolls’ “Iris” and their final two fan-favorite tracks, “If I’m James Dean, You’re Audrey Hepburn” and “If You Can’t Hang.”

After Sleeping With Sirens left the stage, I wasn’t really sure how the night could escalate from there. The only downside of the excitement from their set was the aftermath - due to many fans trying to push their way up front, it seemed that security had to lift quite a few teenagers out of the front, where they had been pushed up against the barricade too hard. Before Pierce The Veil even went on, venue staff came over the PA system to urge fans to take a few steps back in order to give the people up on the barricade room to breathe.

It was definitely unfortunate to watch many fans get lifted out of the crowd due to over exhaustion or the pain of being pressed up against the railing before the headliner went on, but thankfully, everyone seemed to be very respectful of the venue’s wishes. After their announcement, I didn’t see as many people being pulled out of the crowd or seeking medical attention.

After that little hiccup, it was time for Pierce The Veil to hit the stage. In between set changes, a huge white curtain bearing artwork from the band’s latest release dropped down in front of the stage, and the crowd went absolutely wild. And that was all before anyone even took the stage. Then, the lights dimmed and spotlights began to illuminate each band member from behind the curtain, prompting excited screams from the crowd. The curtain dropped as Pierce The Veil began to play the first few notes of “Hell Above” and it was absolute chaos. It was obvious that each band member was performing at the best of their ability - from Vic Fuentes’ incomparable vocal work to bassist Jaime Preciado leaping around the stage with a ridiculous amount of energy, they all seemed on top of their game.

Song after song, Pierce The Veil just seemed to outperform themselves, and with a huge lighting production to back up their already insane live performance, it was nearly impossible to look away.

A highlight of their set was definitely when they played fan favorite, “Bulls In The Bronx,” though the acoustic rendition of “I’m Low on Gas and You Need a Jacket” was absolutely beautiful, and when Lynn Gunn came out to do guest vocals on “Hold On Till May,” I couldn’t help but be excited. It was also really heart-warming to watch Fuentes invite a fan on stage to sing the beginning of their final song “Bulletproof Love” to. The set couldn’t simply end there, though - not on a co-headliner with Sleeping With Sirens. After chants from the crowd for an encore, Pierce The Veil returned for one final song - “King For A Day,” with help on vocals from Kellin Quinn. Understandably, the reaction from the crowd was beyond compare.

When the show was finally over and the house lights came on, fans began to pour out of the venue and into the snow - but the drive home in a winter storm was definitely worth it. Being one of the first dates on the second leg of the World Tour, I wasn’t quite sure what to expect - sometimes it takes the bands a few shows to work out any kinks, after all - but none of the bands on the bill disappointed. Judging by the excitement and happy looks on the faces of the fans in the crowd, they had a great time, as well.

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FRNKIERO ANDTHE CELLABRATION WITH: THE HOMELESS GOSPEL CHOIR & MODERN CHEMISRTY

Thursday, March 5th @ The Marquis Theatre, Denver, CO

bit of a punk twist, and I was pleasantly surprised.

The band was great at feeding off of the crowd’s energy, providing a great opening while keeping fans captivated throughout their entire set.

Following Modern Chemistry was the entity

Fans as enthusiastic as Frank Iero’s are known as The Homeless Gospel Choir. Being only hard to come by. In this day and age, it’s nearly one man and an acoustic guitar, I was interested impossible to go to a show and find yourself in a to see how Derek Zanetti would fare in between crowd of people who are genuinely excited about two full bands. Needless to say, The Homeless the band they’re about to watch, giving the musi- Gospel Choir met and exceeded both mine and cians on stage their undivided attention. Usually, the crowd’s expectations. With smart lyrics and the concert-goers snap a couple of quick photos enough emotion and sass for an entire band, Zaon their phone for a quick instagram post about netti had complete control over the crowd. Starting “how much fun they had” and give the band a few every single song with a simple, “This is a protest claps and halfhearted woo’s and they’re on their song,” he dove right into fast-paced acoustic guiway. The crowd at The Marquis Theatre on Thurs- tar work and snappy lyricism that not only made fans laugh, but made them think. By the end of his day night, however, was a rare exception. set, the crowd was hanging on his every word, and

I knew I was in for a special night when the they were bound to walk away from the show with first band, Modern Chemistry, took the stage, much a new favorite one man band. to the excitement of the crowd. Right off the bat, After The Homeless Gospel Choir, anticipaModern Chemistry’s overall tone was more mellow tion hung heavy in the air. It was almost the moand laid back than I had been expecting, with a 14 - THEPRELUDEPRESS.COM

graphs while he was on stage. Those little bumps aside, however, the show went off without a hitch.

By the time the band played their single, “Joyriding,” the crowd seemed to explode. Everyone was jumping around and screaming the lyrics along with the band. A few songs later, I was surprised to hear the band sliding into a cover of LeATH Musically, frnkiero andthe cellabration were ERMOUTH’s (Iero’s old project) “Sunsets Are For incredible. Having seen their set back in Septem- Muggings.” While not as many fans were familiar ber of last year at Riot Fest, I thought I knew what with the song, there were absolutely a few dieto expect, but they absolutely managed to blow hard fans that were singing along, and Iero was any of my expectations out of the water. It seems sure to point it out with a smile on his face. that this band was made to play intimate clubs to Throughout the night, it was safe to say that excited and faithful fans, rather than huge festival stages to people who have never heard of them not only frnkiero andthe cellebration, but all three before - and that’s totally okay. The raw energy acts fed off of the crowd’s energy and enthusiasm, that not only Iero, but the rest of his band puts and by the time the show was over, the fans and forth, translates perfectly in a smaller venue, with the bands left the venue feeling fulfilled. fans pressed up against the stage and singing along every word. ment that everyone was waiting for, and the mood in the room seemed to change from mellow and laid back from the first two acts to anxious and excited for frnkiero andthe cellabration to take the stage. And by the time the lights dimmed, the entire venue erupted into applause.

The set wasn’t without a few hiccups, though. A few times, Iero did have to remind fans that he was “a little busy” and couldn’t sign auto-

PHOTOS AND STORY: Shannon Shumaker

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BEING AS AN OCEAN 16 - THEPRELUDEPRESS.COM Photo: Jordan Altergott

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THEPRELUDEPRESS.COM - 19 MOTIONLESS IN WHITE Photo: Nick Reece

20 - THEPRELUDEPRESS.COM SILVERSTEIN Photo: Shannon Shumaker

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THEPRELUDEPRESS.COM - 23 PAPA ROACH

Photo: Svetlana Joukova

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THEPRELUDEPRESS.COM - 25 BUSH

Photo: Nick Reece

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THEPRELUDEPRESS.COM - 27 LETLIVE. Photo: Shannon Shumaker

28 - THEPRELUDEPRESS.COM KONGOS Photo: Svetlana Joukova

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30 - THEPRELUDEPRESS.COM SET IT OFF Photo: Jordan Altergott

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YOU, ME, AND EVERYONE WE KNOW

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For readers who aren’t familiar with You, Me, And Everyone We Know, can you describe your sound and who are as musicians?

Ben Liebsch: My name is Ben Liebsch and I’ve been at the helm of this band, knowingly or not, for going on nine years now. The band’s sound doesn’t fit into any one box for better or for worse. You can hear the Bob Seger my mother listened to as she cleaned our home on the weekends when I was a kid, the varying shades of punk I grew up listening to, and my appreciation of a good hook.

Your new EP Dogged drops soon - what about this EP are you most proud of? What are you most excited for listeners to hear?

I am most proud of the way the sound has changed.

I think I am finally getting to the core of what I have always wanted the band to be. I am most excited for people to hear something they haven’t before in respect to this band.

How has writing this EP helped you grow both as a musician and a person?

It took writing this EP in order for me to hit rock bottom mentally and realize that I am doomed and blessed to play music for the remainder of my days as a human.

Addiction and depression are major topics that are addressed in Dogged - is it ever nerve wracking to be releasing such personal material?

I think I would rather have people know so I don’t have to pretend I’m okay all the time and so they know that it is okay for them to feel the same. This, in turn, makes us both feel less alone. The relationship between myself and the listener is mutually beneficial.

How do you think Dogged compares to your previous releases?

It is a more aggressive, dirtier, and frenetic sound in nuanced ways. I hope to expand on this sound in coming releases What do you want listeners to take away from the EP? I want listeners to feel more than they did before.

What was the most rewarding part of working on Dogged?

There is nothing particularly rewarding about working on a record except the time spent with company you enjoy and the end product. I am addicted to and also hate introspection and self evaluation.

What would you like to accomplish with this EP? In a strictly pragmatic sense, I want the EP to be successful enough to remove myself and my bandmates from the labor force. This takes way less than you think if you’re smart with your money. I want to headline and fill 500 caps rooms. Idealistically, I’d like to show people that redemption is possible, that they are not the sum of all the times they were devalued, marginalized or were less of a person than they feel they should have been, and that most of us are people of value (all non rehabilitatable racists, homophobes, transphobes, sexists, misogynists, and energy company CEOs aside).

How do you feel you have grown over the past few years, or even since YMAEWK first started out?

I know more about who I am and what I want now.

I did not know that for a long time and it was a problem

Was there anything else that you really wanted to address with this EP?

What can people expect from YMAEWK in 2015?

I don’t write with a mission. I just write about what is weighing on me. It’s all big picture stuff that I think is relatable to most stages of life.

Lots of touring and doing weird, interesting stuff in the name of breaking rules.

PHOTO: Provided STORY: Jordan Altergott THEPRELUDEPRESS.COM - 33

THIS IS

THE OR

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RDER OF THINGS

For their seventh studio album, ALL THAT REMAINS wanted to create something memorable that would be worth listening to as a whole, but more importantly, they wanted to make album for themselves - something that they would be happy with regardless of any criticism they may receive. The final product is The Order of Things.

PHOTO: Justin Borucki

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Three weeks before the new album

Within moments of speaking with him, it’s apparent that creating a memorable record and is set to release, All That Remains’ guitarist Mike Martin finds himself at home, waiting patiently (or something that would keep listeners’ attention is as patiently as he can) for The Order of Things to something that All That Remains strived for with drop and for the band’s first tour in nearly fourteen The Order of Things. When listening to the album, months to kick off. “I almost feel like a normal per- it’s even more evident, especially when the last son,” he jokes, mentioning that he’s still drinking track comes to a close and ends the same way as coffee even though it’s well past noon, “It’s crazy!” The Order of Things begins, with a somber piano part. “We talked about that a lot,” Martin says of

Since Martin finished recording back in the album’s beginning and end. “Everyone is so July of 2014, it has been a waiting game, and now pumped about how everything flows together, and they’re in the final round. “It seems like it’s been it just seems like such a complete album. And we done for so long that it has a feeling right now that joked, because we’re like, ‘Oh man, the last song it’s never gonna come out,” he says with a laugh. is so cool and the ending is so cool, but too bad “I’ve listened to it a million times already so it’s nobody is going to get to it.’” like… when are people gonna get to hear this?”

He continues, “I would love for people to

His excitement and anticipation isn’t without listen to the whole record, which I know is a lost reason. The Order of Things is the follow-up to All thing these days, but it’s frustrating when you’re That Remains’ highly successful 2012 release, A really proud of twelve songs that you put out, and War You Cannot Win, which debuted at #13 on the people only listen to two.”

Billboard Top 200 and yielded two hit “All you really gotta do is put pressure H o w e v e r , singles, “Stand Up,” on yourself to make songs that people Martin isn’t naive - he understands and “What If I Was are gonna remember...” that the way that Nothing.” Following - MIKE MARTIN music in consumed the 2012 release, in 2015 isn’t the All That Remains also went on to hit the road for sold out shows same as it was when the band began over fifteen alongside Volbeat and In This Moment in between years ago. Attention spans are short, singles can multiple festival appearances. After the success of dominate over full albums and, as Martin puts it, A War You Cannot Win, it’s hard not to wonder “there’s so much stuff to do.” what is next for the band. Martin, however, didn’t “I’m just as guilty as anyone,” he admits, feel the pressure to outperform their old material.

“I’ll turn my TV on and choose something on my

“I felt a little bit of that at first, but things are DVR, and as soon as I press play, I pick my phone so different now than they were back then, and up and I’m on seven websites, or I’m listening to a we’ve learned so much about what we need to do song while I’m watching a TV show, and I’ve got a to survive and have longevity,” he explains. While guitar in my hand and I’ve got twenty things going he notes that many fans consider the band’s 2006 on at once.” release, The Fall of Ideals, to be their “Master of Still, Martin can’t help but be hopeful, conPuppets,” so to speak, he speaks for the whole band when he says that they’re not concerned tinuing with, “I would love for us to put a record out that was so undeniable that people couldn’t help about outdoing themselves. but pay attention to the whole thing.”

“All you really gotta do is put pressure on All That Remains tapped producer Josh yourself to make songs that people are gonna remember, cause there’s so much stuff out there Wilbur (Lamb Of God, Gojira) for the first time in now, it’s so easy to be forgotten, ” Martin contin- order to meet these goals. While working with a new producer could obviously be daunting (All ues.

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That Remains have worked with Adam Dutkiewicz for the majority of their past releases) Martin expresses that it was also refreshing to have a new perspective in the writing and recording process.

“When you get comfortable, you don’t really want to change,” he explains. “[Adam] has done four or five of our records, and he’s one of our best friends - I used to live with him, too - but scheduling didn’t work out for that. Josh was at pre-production for about an hour the first day, though, and we were just like ‘Wow, we really love this guy.’ He has great songwriting ideas, great lyric ideas, and he has just an awesome mind for music in general so it was just perfect.”

come without a few naysayers among devoted fans, of course. “It’s gonna be an argument, no matter what,” Martin says of clean vocals versus screams in the new album. “Depending on who you’re talking to it’s, ‘I can’t understand what he’s saying when he’s screaming why don’t you guys sing more?’ and then when we sing a lot, it turns into, ‘You guys sold out, why don’t you do back to your old days?’”

“We haven’t really been concerned with the singing or screaming for a long time,” he continues. “We just kind of do what we want.”

The Order of Things is absolutely the prod “It was really cool to have someone with a uct of All That Remains doing what they want. really fresh view on everything and really different While there are most definitely some hard-hitting ideas for us that really make everything more ver- tracks such as “Bite My Tongue” and “No Knock,” (which is one of Martin’s favorites) on the album, satile and very fresh sounding,” he concludes.

The Order of Things also hosts some heartfelt bal A fresh sound doesn’t come without criti- lads like “For You” and final track, “Criticism and cism, however. Thankfully, Martin is fully aware Self Realization.” of that. Fifteen years in the music industry don’t

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“That song kind of caught me by surprise,” Martin says of “No Knock.” “We were kind of just messing around with it at practice, and then when I heard the finished copy of it, I kind of got goosebumps because I loved it so much. I’ve never heard Phil sound so tough on a song before - it was crazy.”

Of the slower songs, Martin explains, “I’m psyched for the ballad to come out, I always love to see how people react to that. You get the huge radio attention with the ballads and everyone always seems so positive about it, but that also comes with the negativity of, ‘Oh you guys are writing slow, singing songs, you sold out.’”

With a laugh, he continues, “It’s basically like a people watching thing for us at this point.

We’ve been doing it for so long, that it’s like, you put an album out and you just sit back and smile and wait for the reactions.”

would happen, and I think as long as you can notice it and appreciate it, everything is easy,” he continues, “It’s not hard to stay motivated when you realize how lucky you are to do this.”

As Martin puts it, it’s easy to stay motivated when they’re living their dream. Not only have All That Remains toured with some of their favorite bands (and even their heroes, as Martin explains when speaking about their friendship with HELLYEAH’s drummer, Vinnie Paul) but they also get the chance to get back on the road for an extensive tour with In Flames again this year.

As far as future plans go, All That Remains are taking it one day at a time. “We’re psyched to go out and play the songs with In Flames - a lot of people in this band look up to them. I know when I joined All That Remains a long long time ago, In Flames were like Gods to us,” Martin says with a laugh.

“[We’re going to]

There isn’t any blind optimism when it “It’s not hard to stay motivated continue to tour constantly, because that’s comes to releasing new when you realize how lucky you the way that bands surmusic for All That Reare to do this.” vive, but I don’t know mains. After seven studio albums, they know - MIKE MARTIN how much longer full albums are gonna last, so that they can’t make everyone happy, but as long as they create some- who knows,” he continues. Even when speaking thing that they’re proud of, that’s all that matters. about the future of the music scene, it’s with an air “There’s no pressure to be like, ‘Oh we gotta make of positivity, though that’s not surprising. Despite it like this album,’ or, ‘It’s gotta be better than this his obvious drive to write a memorable full-length album,’” he concludes. “It’s just like... make sure record, Martin isn’t afraid to take the music industry at face value, even if it means that All That that the songs are memorable, you know?”

Remains’ next record is nothing like The Order of

With that mindset, it’s no surprise that sit- Things. All That Remains have it figured out, after ting down to write The Order of Things was sec- all, and this album is just another step forward. ond nature to All That Remains. Even after years “We don’t have any master secret plan together as a band, working on a new album isn’t a chore to them - in fact, if it was, Martin says that that’s gonna change the world or anything,” Martin they wouldn’t be doing it. “You know, the percentile concludes, “We just want to write music and go of people that do this for a living is so so small, so and play it.” if we can just appreciate how lucky we are to do this, it’s easy,” he explains. “It’s not like, ‘Oh god, we have to go write an album now,’ instead it’s like, ‘Oh cool we get to.’”

“There’s a lot of stuff that happens when you’re playing music that you’d just never believe

LIVE PHOTOS: Svetlana Joukova STORY: Shannon Shumaker THEPRELUDEPRESS.COM - 39

PHOTO: Jordan Altergott

Philadelphia, Pennsylvania, better known as “The City of Brotherly Love,” has a reputation that spans not only the Atlantic Coast, but the entire nation and beyond. First and foremost, Philadelphia is known for its infamous, untouchable “Philly Cheesesteak.” It’s a city whose natives and regulars travel near and far for these sandwiches and have their own lingo for ordering.

Those of you who are familiar know what I mean when I say “whiz wit” or “prov without.” Another aspect of Philadelphia that cannot be denied is that it is home to some of the most passionate sports fans out there; fans who will boo just about anyone out of the building, and they pretty much have from injured athletes, their own teams and even Santa Claus. But, hey it’s not crazy, it’s sports.

Philly is also home actor Bradley Cooper and best known for the filming of the iconic Rocky movies.

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So for this edition of All Inclusive, I’m taking you to one of America’s oldest cities and showing you what you need to see and do, and what better way to explore “The City of Brotherly Love” than with my brothers, Ray and Moses. The three of us are in town to check out Stick To Your Guns, The Amity Affliction and ‘68 at The Theatre of Living Arts, better known simply as, The TLA.

Growing up in Elizabeth, New Jersey, Philly was nothing more than a couple hour ride down the NJ turnpike, so we did just that for this trip.

Once we made our way into the city, we figured we would get our exercise in before we loaded up on beer and cheesesteaks, so our first stop was the Philadelphia Museum of Art. You’re probably wondering why three grown men who are in town to party and hit the pit are going to a museum.

Although there are amazing art exhibits, which you should check out if you have the chance, what most people don’t know is the steps that lead into the museum are actually the ones that Rocky runs up time and time again in the movies. So of course we raced to the top, and who do you think won?

Well, let’s just say I came in top three.

Looking down from the top is a commanding view of the Benjamin Franklin Parkway, Philadelphia City Hall, and one of the world’s most well-known traffic circles, Eakins Oval. The bronze Rocky statue that was featured at the top of the steps in Rocky 3 is now at the bottom of the steps set off to the right. It’s become a tourist hot spot for pictures, and since we were tourists, we had to

pose for a few. Yo Adrian, we did it!

After racing up the steps like the tourist fools we are, we took a stroll down Broad Street, which is full of bars, restaurants and coffee shops.

We passed through on our way to the Liberty Bell, located at Independence Hall on 6th Street and Market Street. One perk is that it’s free to go in and view the Liberty Bell, even though it’s honestly not as big as most people would imagine. (Though the crack in the bell is bigger than I thought it was, go figure.) The bell has drawn many famous world leaders over the years and has the inscription of “Proclaim Liberty Throughout All the Land Unto All the Inhabitants Thereof.” The State House bell became a symbol of liberty in the 19th century and its

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inscription provided a rallying cry for abolitionists wishing to end slavery. What I just told you can be found in any history book, but in my opinion, if you’re ever in Philadelphia and have spare time to see this landmark, you should go. When I walked in and saw it, for some unexplainable reason, it made me feel very proud to be an American. I also must commend the city for doing such a great job preserving this national treasure.

Once we were done visiting the Bell, we had a little bit of time to kill before the show started, so we decided to go down by Penns Landing to watch the boats.

However, being that the wind coming in off the waterfront was bone-chillingly cold, we didn’t last too long.

In fact there was ice forming in the water, so we decided to head to South Street, grab a coffee at Starbucks and mosey up and down the street, checking out some of the shops.

Once we arrived at The TLA, the first act we caught was ‘68, a two piece act featuring former The Chariot frontman, Josh Scogin on guitar and vocals, and drummer Michael McClellan. They only had a twenty-five minute set but they definitely made the most of it, and for a two man act, they had the energy of ten people on stage.

Throughout the set, Josh was playful with the crowd and a couple of times, he launched his guitar as high in the air as possible, effortlessly catching it each time. When he wasn’t busy with that, he was climbing up McClellan’s drum kit, nearly falling at times. Nonetheless, he and McClellan fed off of one another amazingly. They got the crowd moving early and when their set was over, they took a bow as an amazing 42 - THEPRELUDEPRESS.COM

standing ovation overcame the large Philly crowd.

On stage next was a band I never heard of prior to this show, called Being As An Ocean. Immediately after coming out, they instantly excited the crowd. Two songs into their set, I felt foolish for not knowing who they were as most of the crowd was able to sing along to their lyrics. They fit right in with the lineup of bands, and I quickly realized that Being As An Ocean may be one of the craziest, most high-energy, fan-engaging live acts going. Vocalist Joel Quartuccio was up on the barricade, letting fans sing and got up close and personal with fans in the front row. Being As An Ocean is definitely not a band to be missed, and if you haven’t seen them yet, be on the lookout for these guys!

The Amity Affliction was up next and immediately upon entering the stage, they sent the crowd into a pure frenzy. And that’s putting it lightly. Lead singer, Joel Birch basically came out and put a spell over the crowd. When he said jump, they jumped. When he said sing, they sang. When he said put your hands up, you guessed it, they went up and high. At one point, I was convinced he could’ve told his fans to slap the person next to them and they would’ve listened. It has been a very long time since I’ve seen a frontman with such control over a crowd before. In fact, I think the last time I was present for something of this nature, the frontman’s last name was Hetfield. They played a total of nine songs, and each was performed with such perfection and flawlessness. There was no wasted motion on that stage between any member of the band. When they closed with “Don’t Lean On Me,” it was ba-

The band encored much to the crowds pleasure and finished off the night with “Against Them All.” By their final song, the fans of Philadelphia, a city known for its often booing fans, did nothing but scream and cheer to show STYG who they were really there to see.

sically a sing along with about 1,200 of their most beloved fans in Philadelphia. It was an experience, being a part of such a special moment.

Finally it was time for Stick To Your Guns.

Up until then, the night seemed to take shape as a game of friendly competition amongst the bands on the bill. They each seemed like they were trying to steal the show from the other and I mean that in the best possible way. The Amity Affliction was close to stealing the show, but STYG was more than ready to remind all fans present that night why they were the headliner and main event of the evening. The boys from Orange County, California came out firing on all cylinders, opening with “Nobody,” fresh off their brand new record, Disobedient. By the response they received from the northeast crowd in Philadelphia, you would’ve thought it was one of their oldest songs. Throughout the set, there were multiple mosh pits and a constant flow of crowd surfers trying to get over the barricade.

Before we could start the trek back up 95 North, we had one final stop to make and one tough decision at hand. We had to figure out what cheesesteak place to try, and in Philly the two heavyweights of the cheesesteak are Pat’s King of Steaks and Geno’s Steaks. Not only do they both claim to be the best, but they’re located right across from one another. We looked at Geno’s with all its big, bright signs and then we looked at Pat’s with just its one simple sign and the choice was clear; we were going to Pat’s and we were really glad we did. Pat’s claims to be the originator since 1930, so make sure when you step up to the window, that you know how to order, as you never want to be the one to slow the line down.

And since Pat’s is open 24/7 there’s almost always a line. So when ordering a cheesesteak, the idea is to let the cashier know a.) that you would like a cheesesteak, b.) what type of cheese you want, and c.) whether or not you want fried onions, and you have to be as concise as possible while doing so. If you can do that, then you’ll get to enjoy the best cheesesteak of your life. We had ours and hit the turnpike.

Thank you Philly, that was fun!

PHOTOS & STORY: Kevin Menendez

All Inclusive is a segment for the avid concert goer by an avid concert goer.

Follow Kevin’s stories and wild adventures across North America in each issue of The Prelude Press as well as on twitter and instagram (@juicemenendez) THEPRELUDEPRESS.COM - 43

KILLING MUSIC

IT’S NOT JUST FOR THE INTERNET ANYMORE It’s probably true in more

recent years that release dates are a bit of an outdated concept. It was reported earlier this week that record labels are going to begin to change release dates from the usual Tuesday slot to the statistically higher music purchasing day, Friday. But in the digital age, what does any of this matter? Albums often stream or leak well in advance of their release dates. Bjork’s Vulcania, which was scheduled for release months from now leaked online in a matter of days after the album announcement; to which Bjork Bjork-ingly decided to release her record on iTunes the next day. Some have not taken this newfound phenomenon lightly in recent years. James Blake was publicly griping about many songs his label had released before his sophomore album even dropped, claiming that people were going to have no interest in buying his record because by the time it came out, nothing on it would be new. Even musical recluses Daft Punk streamed their album a week in advance of its release date that same year. So if we’ve come to this period in time where we can get any album we want earlier than its intended release date, then why pay for new music at all? If we can stream it online, we can take that MP3 link anywhere we want and not ever think about spending a cent on it and the records and CD copies will begin to drop sharply once again. So I guess the real question would be: have we officially lost the romanticism in the physicality of music in favor of convenience and entitlement?

and Prince. We take the personalities the artists have publicly put on display for us and attributed it to their music, giving us, the listeners, an extremely different and often biased view of a new song or record. The article made some fascinating points, but it almost feels like (surprise, surprise) Pitchfork wants to take their music listening way too seriously. These acts, personas, and egos that these artists give us or put on display are often part of a band’s expression of art. These artists will find ways to wear their music on their sleeve; from public behavior to the way they dress. The persona is every bit a part of the artistic process as the music itself is. And if what this article is suggesting is true, then wouldn’t it also be true that

As a near-life long record collector, this is we couldn’t appreciate the mystique and legend of a period I’ve feared since the first time I dropped physical album pressings? One of the best parts the needle on the groove. A recent Pitchfork article of listening to a new record is sitting back while went as far as to claim that the modern world is too the table spins, reading liner notes, and looking at obsessed with the mystique and legend surround- album artwork. If we’re just listening to the music ing some of our favorite artists, a la Foo Fighters for the music, would we not also have to disregard the artwork that sets so much of a tone for

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a record? What would Dark Side of the Moon be without its dark rainbow beam? What would The Velvet Underground & Nico be without the album’s signature Andy Warhol artwork? Artwork, personas, shopping for records: those were the things that got us excited about music. Why are we losing it to advanced streams and MP3 downloads?

The dot com age has forced, and now encouraged, the idea of convenience over experience, which of course transcends the problems in the music industry, but has left a very noticeable dent in the industry’s future. If we wanted to explore an album’s context, then its culture has just as much to do with it as the music itself.

Gone are the days of walking up to your record clerk and getting belittled because of your piss-poor selection of CDs you thought you were about to buy. As horrible as it sounds, the world really, really needs that guy. Because of the impact the internet has left on the music industry, the amazing sensation of talking to other people about the music we’re all so passionate about has fallen second to an email that suggests new music to you based on your misinformed Amazon purchases and third to Pandora, which we all know will probably become as relevant as Grooveshark in the near future. The point is this: All of the culture, mystique, and excitement that surrounded records before they came out are falling to the wayside in favor of our technological advances. Maybe people just aren’t as excited to buy music anymore, because our attention span has shrunk and our feelings of entitlement have enlarged. No one listens to what artists have to say anymore. If artists were to disqualify their personas and outside projects nowadays, they’re a mere trend. Artists need to make money, so the Kanye Wests and Ariel Pinks of the world take their music to another level by making it part of their public persona. Be real: Do you really think Kanye acts the way he does and doesn’t know what he’s doing at least a little bit? His personality sells his music, and he surely realizes that.

So, in this respect, Pitchfork got it right.

Sometimes we do get a little distracted when an artist does something outlandish and attribute how we felt about that event to their music. Maybe some people might appreciate Kanye West a little more

if he wasn’t such an airhead. But no matter where you fall on the spectrum, that same personality still comes across on his records. You don’t even have to know how he acts to know who Kanye West is.

Put on any one of his records, and within the first track of any of them, you could deduce that he’s an insecure egomaniac. So even if we’re “just listening to the music” aren’t we getting that same dose of ego we were trying to avoid from his public persona in the first place? Music is a personal artistic expression and a lot of the best songs and records don’t come from musicians, they come from artists, and artists are not confined to just one art form. What an artist says about their records often enhances a listening experience and brings us closer to a more general understanding of theme and/or narrative.

While we ceaselessly look to illegal downloading as the cause of dropping record sales, we also can’t forget why we love buying music in the first place. And now, because nothing really matters as long as your web page gets a few hits, people will leak or stream anything to you without a moment’s hesitation, fewer and fewer people are going to keep buying records. These websites that dedicate nearly all of their pages to the world of music are killing it with every advance stream or leak they post. If our favorite music news outlets really, really cared about the state of the music industry, don’t you think they would favor letting everyone go out to buy the record for themselves and reporting actual news as opposed to telling us where we can stream it right away because we’re all blood thirsty savages who can’t wait for anything to save their lives? Just because the release date is irrelevant anymore doesn’t mean everything about the artist has to be, too. We keep the spirit of music alive by engaging and listening and we’re losing that idea more and more every day to the idea of instant gratification. We’ve lost the patience for everything that makes music what it is, and yet we all have the gumption to sit here and wonder why we’re losing so many important facets in an art form we’ve all grown to love so much.

STORY: Blake Britton

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YOU, ME, AND EVERYONE WE KNOW Dogged

It may still be a little premature to say that I’ve found my favorite album (or EP, in this case) of 2015, but so far, You, Me, and Everyone We Know’s new EP, Dogged takes the cake. Only six songs in length, this EP wastes no time in kicking off strong, loud and in your face. The energy on the entire album is amazing, the emotion is palpable, the vocals are strong and the lyrics are smart and personal, but still relatable. Right off the bat, You, Me, and Everyone We Know hooks you with catchy guitar riffs and melodies that are sure to get stuck in your head after just one listen. (Trust me, I’m still humming them to myself.)

Rating: 5/5

Listen to “Brooks Was Here”

perfectly captures the inner struggles that Liebsch has dealt with over the past few years. The song’s line, “Desperate times call for a creative spark,” is easily one of the strongest lines on the album.

“Brooks Was Here,” however, is definitely the strongest track on the album. Again, the song itself is poppy and catchy, which contrasts perfectly with the dark and serious lyrical content about depression. The outcome is an anthem, and not one that necessarily promises that “it gets better,” but more so, “life goes on,” something that people can relate with and understand, as Liebsch screams, “If it’s all in my head, then let me out.”

“A Pleasant Bummer” is the perfect outro track, and the only slow song on the EP. Like the other songs on the album, the emotion in the song

“Does It Amaze Thee,” the first full song is raw, but this time around, it’s unprotected by on the EP following the intro track, “Raise Them catchy melodies and upbeat poppiness - instead, Bones,” is nothing short of amazing. The emotion everything is laid out on the table, leaving you in the nearly screamed lyrics in this song is palpa- feeling like you’ve just gone through an emotional ble, but on top of that, the lyrics themselves are rollercoaster. I think that’s what makes Dogged so what really drive the song home above the energy. strong, even though it’s only six songs in length Vocalist Ben Liebsch is transparent in his lyricism each song hits hard and wastes no time in getting throughout the entire album, but especially in this its point across. Honestly, it’s near impossible to opening song with the line, “Does it amaze thee find one flaw in this comeback release. It seems that Liebsch has taken his experiences over the that I could be this banged up and still thrive?” past few years and used them as fuel for this re Throughout the entire album, the vocal mel- lease, and the result is absolutely incredible, leavodies are smart and catchy and the harmonies are ing me anxious to see what You, Me, and Everyon point, especially in the third track, “I’d Rather one We Know will go from here.

Be Sleeping.” The way that they mesh dark lyrical content with upbeat and catchy as hell melodies is not only incredible, but enough to get the song REVIEW: Shannon Shumaker stuck in your head. The first time I listened to “I’d Rather Be Sleeping,” I found myself singing along with the chorus by the end of the song - it’s that catchy and memorable. “Eat My Hands” is probably the most upbeat song on the album, and easily the most positive song lyrically, which serves as a great high point in the middle. The underlying message of the song is about moving forward, and 46 - THEPRELUDEPRESS.COM

MAN OVERBOARD/SENSES FAIL Split EP

Rating: 4/5 Listen to “One Fixed Point”

Man Overboard and Senses Fail’s split EP is sweet and salty for your ears, starting off with Man Overboard’s new song “One Fixed Point.” “One Fixed Point” is a true Man Overboard song with catchy lyrics, killer pop punk riffs, and an all together sound that makes you want to roll down your car windows and scream along.

After “One Fixed Point,” the EP slides into Man Overboard’s cover of Senses Fail’s song, “Cute When You Scream.” At first you start to wonder who it is covering the song. With the vocals being screamed, it is hard to pick up that it is Man Overboard, but once the song really gets going you can easily tell who it is. Man Overboard does an amazing job of not just covering Senses Fail’s track, but by changing their sound to fit the song better.

Next, it is Senses Fail’s turn to showcase a new song with “All You Need Is Already Within You.” The heavier guitars and faster pace is a step away from Man Overboard, but it is not a step you regret taking. The positive message in the song, “All you need is already within you,” accompanied with the music really does make you want to be a better you.

Following “All You Need Is Already Within You” is Senses Fail’s cover of a Man Overboard song, and they choose “Real Talk.” Similar to Man Overboard’s cover, when the beat starts, it sounds like the original song, but once the lyrics come in you don’t quite know who it is. Buddy Nielsen’s signature voice trying a more punk rock style completes the album. The harder version of the pop-punk song is something that the world is a better place having.

All in all, the EP is a success. Much of its greatness is due to both bands coming from different backgrounds, different styles and different genres of music. If this would have been two similar bands playing each other’s songs, it would have just felt like a waste of time, but the two bands adding different, but still a familiar, feel to the songs you were already a fan of is what makes this EP a success.

REVIEW: Nikki Steele

CONCEPTS

Rating: 4.5/5 Listen to “Mirrors”

Transitions

Concepts brings a refreshing sound to the scene with their EP Transitions.

The incredible blend of skillful clean vocals, gripping screams, and crushing musicality put this band on another level from the monotony that we have been stuck in. The production and layerings are fantastic, and supplement the whole experience that is Transitions.

“Posthumous” rips open the EP with a harrowing grip. Continuing strongly, “Mirrors” opens with a beautiful piano bit. This track has the strongest lyrical content with vocals to boot.

“Vultures” plays with vocal layerings, with an emphasis on the reaching clean vocals. The dynamic of clean vocals integrated with screaming vocals is superb. The title track is in clean up position, and continues chugging along onto the powerful closing track,”Abomination.”

This soaring EP is a must listen! Transitions is a launch pad for Concepts to seize mass attention, and their work is uniquely stunning.

REVIEW: Gabrielle DB THEPRELUDEPRESS.COM - 47

ALL THAT REMAINS The Order of Things

Rating: 4.5/5 Listen to “Bite My Tongue”

All That Remains have done it yet again. The band’s seventh studio album, The Order of Things is bound to keep old fans satisfied while still allowing All That Remains to grow and change. The album, which opens with a somber piano intro before diving into the explosive and captivating sound on “This Probably Won’t End Well,” absolutely deserves to be listened to in one sitting. The journey that All That Remains takes you on with this record has its ups and downs, but ultimately leaves you on a high note, and sends you off with another beautiful piano part that really rounds out the album.

Right off the bat, Phil Labonte’s vocals are strong and commanding. His clean vocal work on “This Probably Won’t End Well” is great and the chorus is bright, memorable and captivating, setting the bar high for this release. Thankfully, the following tracks only seem to back it up. “No Knock,” for instance, is easily the heaviest song on the album, both vocally and musically. It’s easy to tell right off the bat when the strong, dirty guitar riff opens the song, that it’s going to hit hard, and by the time that Labonte’s vocals come in, the song absolutely explodes. Following “No Knock” are “Divide” and “The Greatest Generation,” which both host some really subtle yet great vocal harmonies. In fact, the vocal work and lyrics are definitely some of the strongest points in The Order of Things. For instance, the lyricism in “The Greatest Generation,” is very broad and understandable, but without being bland - the song is relatable, but still definitely about the bands’ legacy.

Musically, The Order of Things is very strong, as well. With acoustic guitar work opening up the album’s fifth song, “For You,” All That Remains definitely prove that The Order of Things is multi-dimensional. The guitar work on this track is amazing, and the way it transitions from acoustics to a full band is virtually seamless. Vocally and lyrically, “For You” is really emotional and heartfelt, making the song strong all around. Again, the vocal harmonies are subtle but beautiful, and it’s definitely great to hear a love song only a few tracks after a heavier song like “No Knock” and right before a fast paced, guitar driven track like “A Reason For Me To Fight.”

If The Order of Things does anything, it keeps you on your toes. Of course, there are a few songs that don’t necessarily stand out from the pack (“Victory Lap” and “Pernicious” didn’t really do it for me) but there are more strong tracks on the album than weak ones. “Bite My Tongue,” for instance, is easily the high point on the second half of the album. Like much of The Order of Things, the vocal harmonies are awesome, but on top of that, the chorus is catchy as hell and memorable - by the time the song is over, I’m humming it to myself. The guitar work on “Bite My Tongue” is also strong, especially when the song slows down about halfway through and transitions into some clean and almost jazzy guitar work that sounds unlike anything else on the rest of the album. And then, just when you think you have “Bite My Tongue” figured out, it throws you right into an explosive guitar solo.

From beginning to end, The Order of Things not only delivers, but it keeps you guessing, keeps you interested and ultimately leaves you satisfied. Some tracks on the album are a bit predictable, but not in a way that will make you lose interest, and others are so wild, that you’ll be blown away multiple times before the song even ends. To end the album in the perfect way is the final track, “Criticism And Self Realization,” which is the seven minute long culmination of all of the strong aspects of every single song on The Order of Things. “Criticism And Self Realization” is easily one of the most diverse tracks on the album, with aggressive and commanding unclean vocals, a chorus that is sure to get stuck in your head, incredible guitar work and tempo changes that will blow your mind. The lyrics on this track are strong and personal, but still relatable as Labonte belts, “Looking back what’s left of me?/Am I the person that I wanna be?” The final track leaves you right where the album began, with a beautiful piano outro, which makes The Order of Things feel full and theatrical. Easily All That Remains’ most ambitious release yet, The Order of Things should not be missed.

REVIEW: Shannon Shumaker 48 - THEPRELUDEPRESS.COM

RED

of Beauty and Rage

Rating: 4/5 Listen to “Darkest Part” or “Shadow and Soul”

Red’s new album, of Beauty and Rage is a theatrical masterpiece. Right off the bat, this album hosts a huge sound that many bands strive to achieve, yet miss the mark. Red, however, have created a captivating, memorable, and most of all huge release with of Beauty and Rage.

The big sound that Red creates with this album starts right at the beginning with a theatrical orchestra intro which eventually explodes into the full band. “Impostor” wastes no time, bringing the album in strong with an explosive sound alongside the gorgeous string section. Within the first two songs, it’s apparent that Red have pulled out all of the stops with this one. Especially within the first few tracks, the string section adds a sense of urgency and makes the album feel bigger, almost similar to a movie score or soundtrack.

Following “Impostor” is “Shadow and Soul,” which hits you like a punch in the beginning with really heavy, hard-hitting guitar work, but eventually blossoms into a huge chorus with soaring vocal work coupled with the orchestra. Without sounding too cheesy, this track totally has a “shadow” in the deep, dirty guitar parts and unclean vocals, as well as a “soul” in the bright sounding, enormous chorus. Then, the piano comes in about halfway through the song, throwing you through another loop that you didn’t expect, making “Shadow and Soul” a total masterpiece. That’s not to say that it’s the only strong track on the album, though. No, song after song, Red just seem to up their game. The following track, “Darkest Part,” feels like a total rock song, but calling it rock and writing it off as simple would be wrong - there’s way too much going on in “Darkest Part” for it to be a simple rock track. The guitar and string section in this song are perfectly in sync and compliment the vocals amazingly, especially in the huge, memorable and melodic chorus.

“Of These Chains” is a much needed slower song toward the middle of the album. It really slows things down and provides a versatility and change of sound that is much needed after four (nearly exhaustingly) huge tracks.

“Of These Chains” gives you a chance to breathe and really enjoy the emotion and incredible songwriting on this album. And the best part? A slow song like “Of These Chains” is able to transition into a heavier track like “Falling Sky” so seamlessly that you barely even notice it.

About halfway through the album, though, it becomes apparent that some of the songwriting patterns are a little repetitive: slow intros that ease you into a big guitar part with the verse, then a huge, melodic chorus that is supplemented by the orchestra. The similar song structures on tracks like “Falling Sky,” “Fight To Forget” or “What Keep You Alive” make them a little hard to distinguish, but that being said, there are absolutely more strong songs than weak ones on of Beauty and Rage. Stand outs include previously mentioned, “Darkest Part” and “Of These Chains” as well as “Yours Again,” which is a total love song. “Gravity Lies” stands out because of its fast paced beginning, heavily guitar driven sound and strong unclean vocals, while “Take Me Over” is unique because it’s almost verging on poppy (or as poppy as Red can get) with a really upbeat and melodic sound.

As a whole, though, this album is huge, and individually, each track is strong in its own way. There’s so much going on in each individual song (as well as the album as a whole) making of Beauty and Rage an album that you should devote your full attention to in order to appreciate it all. It feels like a big budget movie, and the result is a theatrical experience that you won’t get from just any album.

The great thing about of Beauty and Rage is that each song feels like a new chapter. You don’t really know what to expect with each song, and that’s what makes this album such a great listen. You can try to go into this album with preconceived ideas of what it should sound like (being a fan of Red, or listening to them for the first time) but nothing will be able to prepare you for the journey that of Beauty and Rage will put you through.

REVIEW: Dom Vigil THEPRELUDEPRESS.COM - 49

STICK TO YOUR GUNS

Rating: 5/5 Listen to “Nothing You Can Do To Me” or “The War Inside”

Disobedient

There are many reasons why the anticipation has been so high for Stick To Your Guns’ new album Disobedient, but the one that stands out the most is in the band’s ability to write meaningful, aggressive and memorable songs. Disobedient is no exception to this. The album, while a little bigger sounding production-wise from their old material, is a perfect follow up to Diamond. The tracks on this album are loud, in your face and aggressive, but above that, they’re meaningful.

A simple guitar riff and beautiful clean vocals open the album in the perfect anthematic way. The beginning is slow, it feels like a march, and the vocals are strong and commanding. “It Starts With Me” is the perfect intro track and it builds anticipation amazingly into “What Choice Did You Give Us,” but not before an emotional spoken part to end the first track. “What Choice Did You Give Us,” throws us right into the Stick To Your Guns that we all know and love. The energy is high, the lyrics are emotional, hard hitting and angry, and the chorus is beautiful and melodic, easy to sing along with. This song is guaranteed a huge crowd response when they play it live.

“RMA (Revolutionary Mental Attitude)” is an interesting and thought-provoking play on the “PMA” that many bands preach or support. Clocking in at just over a minute in length, this is a total hardcore track - it’s fast paced, hard hitting and aggressive with nothing but unclean vocals - no clean, melodic choruses to cushion the blow. But in true Stick To Your Guns fashion, the lyrics are what make this track as strong as it is, with lines like, “Being positive is no longer enough.” On the other side of the spectrum is the following track, “Nothing You Can Do To Me,” which is largely carried by the strong, melodic and memorable chorus. The verses still hit hard, though, and the bass tone on this track is strong, proving Stick To Your Guns’ versatility.

When “To Whom It May Concern” comes in, it’s apparent that Disobedient is an album that needs to be listened to front to back in order to get the full experience and the full message. The slow part toward the end of this track takes you back to the melodic vocals in “It Starts With Me,” and it ties the album together perfectly.

While many people will feel inclined to choose a few favorite songs on a record or just listen to the singles, Disobedient is an album that deserves to be listened to in full. There’s an underlying message to the entire album, but not one that the band tries to drill into your head or pushes too hard or in a way that may drive fans away. On top of that, Disobedient is just musically strong, as well. For example, “The Crown,” which follows “To Whom It May Concern,” is one of the slowest, more mellow songs on the album. It’s less aggressive and in your face, but the result is absolutely beautiful and proves that Stick To Your Guns definitely aren’t one dimensional.

It’s impossible to choose the strongest song on Disobedient, and if the album has any downside, maybe that’s it. Track after track, Stick To Your Guns just keep pushing out more and more incredible songs. More than once, I found myself thinking that I had found my favorite song on the album, only to change my mind a track or two later when I hear a particularly strong guitar riff, a really cool vocal run or a line that really hit home. I think it’s safe to say, however, that “The War Inside” is lyrically one of the best songs on the album. “Use the pain/let it be the force that drives you ever day,” is shiver inducing, and with good reason. The emotion behind the lyrics on this track is insane. But, much like the rest of the album, the final track, “Left You Behind,” follows “The War Inside,” and again, I’m blown away. The storytelling in the lyrics on this track is beautiful and the vocals are amazing - they sound nothing like the rest of the album. “Left You Behind” is not only haunting and beautiful, but it’s also one of the strongest tracks on Disobedient, making the ending much more strong and leaving me wanting more.

I think the thing that makes Stick To Your Guns one of the strongest bands in the hardcore scene is their ability to write songs that are not only personal, but also relatable. They’ve done it before, and they obviously do it again with Disobedient. These are songs that make kids think - these are songs that will change lives. The lyrics on this album are smart and meaningful, which is to be expected from Stick To Your Guns, but it doesn’t get boring or old by any means. This band writes about life, and that’s what makes them so relatable. When you listen to Stick To Your Guns, you expect their lyrics to make you think, you expect their music to make you want to get up and do something, and that’s exactly what Disobedient does 50 - THEPRELUDEPRESS.COM

REVIEW: Shannon Shumaker

TOO CLOSE TO TOUCH Nerve Endings

Rating: 5/5 Listen to “Hell To Pay”

Mark my words: Too Close To Touch are going to be huge. By the time that Nerve Endings, their debut full-length album on Epitaph Records, really kicks in with the second track, “Pretty Little Thing,” it’s obvious how much talent this group has. I try to avoid comparing bands to one another, but if I had to, Nerve Endings sounds like if you took all of the best parts of Dance Gavin Dance, Sleeping With Sirens and The Word Alive and mixed them all together. This album is full of catchy guitar hooks, melodic choruses and an intensity that is hard to find elsewhere, and the final product is incredible.

While the beginning of the first track, “Someday,” sounds almost generic - like any other post-hardcore intro song - it only takes a few seconds before the soon to be trademark Too Close To Touch sound comes in and takes over and blows your mind. “Pretty Little Thing” is where they really shine, though, with a beautiful clean chorus that is sure to get stuck in your head. The vocals throughout the entirety of “Pretty Little Thing” are strong as well. The following track, “Perfect World,” showcases the band’s versatility amazingly in just the first few seconds, going from slow, melodic vocals straight into a heavier guitar part laced with keyboard without missing a beat. There’s an intensity to the slower parts of “Perfect World” that hit like a punch, making it one of the strongest songs on the album.

Two songs later, “The Chase,” featuring Kellin Quinn (Sleeping With Sirens) is the perfect example of how to incorporate a high profile guest vocalist into a song without setting it apart from the pack too much. The sound of the song is no different than the rest of the album, and Quinn sings on parts that suit his voice well, but he certainly doesn’t outshine the rest of the band, which I find can frequently happen on songs with guest vocal parts. The only complaint I have with “The Chase” is that in some of the vocal parts, it’s hard to understand because of how quiet they are and how much is going on with the guitar work. But that being said, the guitar work is really strong in this song. The following title track, while slower, is definitely the most emotionally charged and hardest hitting songs on Nerve Endings. The vocals are raw and half screamed for the majority of the song, and the structure of the song is really great, too - it has its highs and lows and seems to ebb and flow naturally.

The thing that makes Nerve Endings so strong is the way that the album just seems to get better and better with each song. For instance, just when you think things can’t get better after the title track, “Restless” comes in with an incredibly catchy chorus and proves you wrong. The group vocals throughout the song really add another level to it, as well. The following song, “Hell To Pay,” featuring Telle Smith of The Word Alive is another high point on the album. One of the most lyrically charged songs on the album, “Hell To Pay” tells the story of an absent father, and it’s impossible not to feel moved by the emotion in Keaton Pierce’s vocals alongside Smith’s vocal work. Again, the guest vocal spot isn’t overdone and simply adds more to the song, rather than taking away from the band.

Following the high energy and emotional “Hell To Pay,” is “The Air In Me,” which hosts some of the strongest vocal work on the album, “Sinking So Long,” with some gorgeous guitar work, and the huge final track, “Until I Collapse.” From beginning to end, Nerve Endings packs a punch that many albums don’t. There’s something for everyone in this album, from the more lyrically charged songs, to catchy guitar work and beautiful, melodic choruses. Even in the slower songs, there’s an urgency and intensity to To Close To Touch’s sound that is hard to find elsewhere, making it impossible not to get lost in this album.

REVIEW: Shannon Shumaker THEPRELUDEPRESS.COM - 51

TORCHE

Rating: 4/5 Listen to “Minions”

Restarter

It amazes me that after so many years of being an ardent music fanatic, I still learn new things about songwriting every day. For instance, I was unaware that an album could be very repetitive and have almost no melody, yet completely take hold of my emotional state. This was my experience while listening to Torche’s newest album, Restarter. Torche’s vocalists do not sing but just sort of groan sporadically into the microphone. The drum rhythms just repeat measure after measure, and the guitars will pick at the same note for what seems like minutes at a time. All of this, and I never once found myself wanting to stop listening to the album. There was so much repetition, yet it felt like things were mounting to create something bigger, like the song was always moving somewhere new even while staying true to its obvious motif. It really had me in a kind of trance, almost like I was getting a buzz off of listening to it: I can certainly see why whoever wrote their Wikipedia page threw in the term “stoner rock” to describe them. This album does not challenge its listeners like a prog rock record would. It does not pump out anger like a metal album would. It just gets the listener bobbing their head, and invites them to just relax and enjoy the music.

The one thing I did not enjoy so much was the rhythm guitar tone. It is that sludgy distortion that creates malaise and a feeling of insecurity. Hearing it once in a while is interesting but I feel like a lot more bands are going for it and it is just getting a little old. Once you have heard it once, it pretty much loses its magic. Luckily, the tone does not take away the effects of the guitar riffs themselves. The trance effect is not hindered in the least, and oh man, the solos just multiply the album’s effect on the listener. The notes go places you think they won’t. Scratchy, incomprehensible distortion comes when you expect notes. The entire time you are listening to the album, you are 95% sure you are aware of how the song is functioning and progressing—but that other 5% just keeps evading you, which keeps you mesmerized and baffled again by the wonders of music.

This album did not change my life; I do not consider these guys to be masterful songwriters, but listening to their album was really an experience. So many other albums are just songs. These do not feel like songs at all, just movements of emotion which leave the listeners relaxed and entranced.

REVIEW: Seth Wood

CITY LIGHTS

Rating: 4/5 Listen to “Jeremy’s Song” or “The Truth Is”

Acoustic EP 2

Acoustic EP 2 is a super fun five-track EP by City Lights. The tales of hope, heartache, friendship, and self-reflection string wonderful tunes.

An encouraging track about using doubt as fuel to overcome trials, “The Dark Side” opens this EP. “Truth Is” is the up-climb recovery from a heartbreak. The uptempo guitar work is comfort for such a troubling situation. Following up, “Cold And Grey” holds the same theme and flow as “Truth Is.” These tracks couple well to drive the point home.

“So Much More To Give” presents a strong theme of self-reflection and the decisions to move forward. The instrumentation on this track is so pure and inspiring with respect to the content.

“Jeremy’s Song” is absolutely incredible. The strength in the lyrics is matched only by the bellowing delivery. A depiction of estranged friends has never been depicted so stunningly.

Acoustic EP 2 is thorough, covering all of the bases to become your new favorite campfire singalong soundtrack.

The vocal clarity mixed with the impressive strumming of guitars, and sprinkles of tambourine and shakers create an experience for acoustic Pop-Punk lovers.

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REVIEW: Gabrielle DB

HIGH RISE

Tides Will Take You

Rating: 4/5 Listen to “Memories” High Rise delivers a smashing EP in Tides Will Take You. A mixture and balance of highs and lows, darkness and light is inviting and relatable for listeners.

The EP tears open with “Burden.” This track weaves aggression and melody seamlessly. “Memories” continues onward with the powerful, hard hitting guitars and percussion. The heartfelt clean vocals are much more gripping than the shouting screams. A genuine aching can almost be felt in the powerful delivery.

The title track “Tides Will Take You” strips down acoustically to showcase musical diversity. The theme of overcoming obstacles against all odds and push back is strong for a slower-paced song. “Brotherhood” is the mighty conclusion for this EP. Bringing the aggression back up, vocally and musically, this track encapsulates a solid anthem.

One word to describe this EP: unity. High Rise’s passionate outing in Tides Will Take You is exciting; definitely check it out!

REVIEW: Gabrielle DB

ROTTING OUT Reckoning

Rating: 4/5 Listen to “End Of The Road”

The California Hardcore band Rotting Out are following up their last full length album on Pure Noise Records, with a raw and punchy EP, Reckoning. Rotting out has always delivered, and even after a lineup change and I was very excited to see what was in store, especially after they seemed to capture their true sound in their last full length, Wrong Way.

The opening track “Born” begins with a sample of two men talking. This sample seems to set the mood for the EP, then ends by driving into an astounding bass riff. The song continues with a fast paced verse that leads into a huge build-up into a breakdown that makes you (or at least me) want to pit. This is the first of many moments to come in this EP that will make you feel like this. The Second track, “Eyes Wide,” continues the same sample from the beginning of the EP. “Eyes Wide” starts off with a fast paced guitar riff. Vocalist Walter Delgado really delivers on this song bringing meaning to the cliché hardcore statement “music with meaning.” This song has very powerful and meaningful lyrics, though the rest of the album does too, but I can really tell in this song. “Eyes Wide” has a lot of “two stepping” riffs and a lot of group vocals which is expected for most hardcore bands.

I want to give a lot of credit to bassist Benjamin Ruiz for delivering with raw bass throughout all of the next track, “End Of The Road.” “End Of the Road” also continues the sample from the beginning of the EP, and is about Rotting Out’s hometown, Los Angeles. Track four, “I Don’t Care,” is a straight-up punk song. Though hardcore and punk go hand-in-hand with each other, it’s awesome to see a hardcore band do something that they haven’t done before. “I Don’t Care” flows straight into the last song in the EP, “Live Fast Die Young.” The flow keeps the momentum driving forward and delivers intro a very solid track. Though I do personally think that the band should have used a different song to end on than “Live Fast Die Young,” just because it seems to end quickly. Overall, though, Rotting Out keep the true meaning of hardcore in this EP and don’t hesitate to push their boundaries or try new things. If you are into hardcore this is a must listen to EP for 2015.

REVIEW: Dillon Crader

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FAVORITE 10 YEAR ANNIVERSARY ALBUMS DEATH CAB FOR CUTIE Plans

Picked by Blake Britton

It’s hard to believe these indie rock titans even have four records preceding this that are already 10 years old, but the band’s major label debut remains an un-ignorable triumph. Plans is one of those records where the planets aligned at just the right time and something beautiful was made. “Soul Meets Body” and “Brothers on a Hotel Bed” are still the breath of fresh air they were during their original release and, of course, “I Will Follow You Into the Dark” has note than solidified its place as a modern-classic love ballad.

FALL OUT BOY

From Under The Cork Tree

Picked by Jordan Altergott

From Under The Cork Tree is definitely my favorite album of 2005. From Under The Cork Tree is packed with iconic lyrics such as “The ribbon on my wrist says, ‘Do not open before Christmas,’” and of course “So wear me like a locket around your throat. I’ll weigh you down. I’ll watch you choke. You look so good in blue.” This is a great sing along album because of all the catchy lyricism. I can jam to this album anytime of the year. Its perfect for fall drives or watching the sunset on a summer night or a night in with friends and thats why it has passed the test of time!

SYSTEM OF A DOWN Mesmerize & Hypnotize

Picked by Gabrielle DB

These albums were released at a time of pivotal social and political change; the angst is still prevalent now, a decade later. These albums forever altered my views of music as an art form.

MOTION CITY SOUNDTRACK Commit This To Memory Picked by Dillon Crader

Commit This To Memory was the first actual physical album I bought as a kid. Never would I know, being at such a young age, that this album would be so influential in both my personal life and in my music. Motion City Soundtrack was really the first band I ever had “followed” after I was introduced to Commit This To Memory. This album is still very significant in my life today and will definitely be an album I will never stop listening to. I owe a lot to Commit This To Memory and Motion City Soundtrack. It’s crazy to think this album is already 10 years old; Thank you so much Motion City for one of the best albums ever made.

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PROTEST THE HERO Kezia

Picked by Seth Wood

I have to believe that everyone who has heard Protest the Hero remembers the first time it happened. It is absolutely striking to hear something that is, at once, so unique and so energetic and so musically advanced. The band is still doing really awesome new things with their music, but for me, nothing compares to first hearing their song playing in a Zumiez store 10 years ago and being totally captivated by their crazy sound-- to the point where I about bum-rushed the clerk just to get the band’s name.

SILVERSTEIN

Discovering The Waterfront Picked by Shannon Shumaker

The fact that I connceted immediately with Discovering The Waterfront in 2005 and I still do ten years later is incredible. Discovering The Waterfront is an album that has been able to withstand the test of time, earning a ten year anniversary tour from Silverstein this year, and with good reason. No matter what mood I’m in, I can put this album on and sing along.

HASTE THE DAY

When Everything Falls Picked by Dom Vigil

I don’t even know how to put my love for this album into words, but it’s fitting that Haste The Day’s reunion comes on the ten year anniversary of When Everything Falls. I remember watching Haste The Day perform this album when it was released - in fact, I still have the ticket stub. If that doesn’t tell you how much I love it, I don’t know what will.

BLOC PARTY

Silent Alarm

Picked by Blake Britton

Still one of the finest debut albums in history. Bloc Party took the best of the indie rock and dance categories and blended them for a beautiful dancepunk record. “Like Eating Glass” and “This Modern Love” might even be two of the best tracks of 2005 alone.

AVENGED SEVENFOLD City Of Evil

Picked by Nick Reece

If I had to sum up this album in one word it would be “perfection”. These guys resurrected a dying genre with City Of Evil and haven’t stopped since.

It will go down in history as one of the best metal albums of all time. This album helped mold me into who I am and I thank them for this Masterpiece. forREVer! THEPRELUDEPRESS.COM - 55

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