#songwriter who consistently puts out sonically cohesive albums (for the most part) and is able to nail almost any genre

[wiseatom]

anyway you can literally pry mike and will sw*ftie agenda from my cold, lifeless hands

[diaryofablandman]

Top 5 Records of 2016

1. David Bowie - Blackstar

To refer to David Bowie's latest, and tragically final, record Blackstar as mere 'music' is an understatement that borders being offensive. Having been diagnosed with terminal liver cancer in 2014, Bowie quite literally put his life into creating his swan-song, and the haunting beauty that inhabits the ensuing seven tracks is beyond conventional description. I'd purchased the album on its release date, before anybody knew that Bowie would be gone just 48 hours later, and I was immediately struck by the darkness that pervaded the album, particularly in "Lazarus" and the 10 minute title track. Where his previous record, 2013's 'The Next Day' was a more classic, albeit darker, callback to the quirky pop of his 70′s fare, 'Blackstar' found Bowie exploring new, bleaker sonic territory. Backed by a group of jazz musicians, this bleakness was of course not your conventional doom and gloom, with odd time signatures and linear song structures abound and Bowie crooning dirges about spirits rising and someday being 'free' atop the twisted sonics. It was beautiful, but puzzling. When the gut-wrenching news came just 2 days later, it all made sense. Bowie was saying goodbye like only he knew how; through his art. And make no mistake of it, 'Blackstar' is art of the highest order. From the aforementioned dirges, to the Droog-esque poetry of "Girl Loves Me" and, the mysterious, final goodbye of "I Can't Give Everything Away," this album is yet another work of genius from a man who defined his status decades ago. This would have been a classic without Bowie's tragic passing, but its place in his catalog has made it his crowning masterpiece.

2. Iggy Pop - Post Pop Depression

With a career spanning over 50 bare-chested, ear-bursting, crowd-surfing, and often blood-soaked years, Iggy Pop has long established his place amongst rock and roll royalty. But while so many of his peers were passing away in the last few years, Iggy showed his 'lust for life' (sorry) by returning to the studio in 2016. Enlisting an unexpected songwriting partner in Queens of the Stone Age's Josh Homme, 'Post Pop Depression' revisits Iggy at his most creative, with a sonic canvas that harkens back to his finest solo outings, the Bowie-produced 'The Idiot' and 'Lust for Life'. The record bursts open with the trotting swagger of "Break Into Your Heart" followed by the more upbeat, dream-like "Gardenia". The record reaches its peak with the slithering rocker, "Sunday," that grooves its way through 6 minutes and ultimately breaks into a surprise orchestral climax. What surprised me most about this record is how distinct Homme's signature sonic imprint is throughout the record's nine tracks without it ever sounding quite like a Queens record, which had been an initial concern of mine. Instead, the two combined their songwriting prowess to create a truly outstanding piece of work that takes the best parts of their style and turns it into something unique and wonderful. Iggy has hinted in the press that this may be his last record, and if that's so, he'll truly have gone out on top.

3. Nothing - Tired of Tomorrow

I'd came across Nothing not long after their debut LP, "Guilty of Everything" came out in 2014. They were a refreshing blend of shoegaze and metal with the attitude of punk and I was super excited to see where they'd go with that sound. On "Tired of Tomorrow" they've turned down the reverb a bit and streamlined the tentacles of their myriad genre influences into something every bit as exciting, but a bit more cohesive. This is most apparent on the record's first single "Vertigo Flowers," which kicks right out the gate with a decievingly upbeat pop instrumental against some catchy, gazey vocals that give way to an almost hardcore breakdown-esque outro. Second single "ACD (Abcessive Compulsive Disorder)” follows suit, but it also features a more hushed dynamic and some great vocal harmonies in the song's pre-chorus. My favorite track on the record though, is the brooding "Eaten By Worms". With a quiet intro that’s part "Black Hole Sun" and part "Heart Shaped Box", the song bursts into a driving minor-key riff and plays with a loud-quiet-loud dynamic that tickles my grunge-loving heart. I'm super glad to have been able to catch these guys on the ground floor of their career and their sophomore effort has left me every bit as excited to hear what comes next as their debut.

 4. Descendents - Hypercaffium Spazzinate

One of punk rock's most consistent and long-running bands, Descendents created the upbeat, tongue-in-cheek pop-punk that bands like Green Day and Blink 182 took and ran with, but even after 40 something years in the game, there's still nobody that does it like them. Returning after a 12 year hiatus from the studio, Descendents' 2016 record, Hypercaffium Spazzinate, finds the band in perfect form. The band takes on a host of lyrical themes such as death in the family, diet restrictions, inter-band friendship, and love, all with their signature irreverance. Highlights include the lead single "Victim of Me", the driving "Shameless Halo" and my personal favorite, the infectiously melodic "Without Love." If you're a fan of the Descendents, you know what you're getting into and this album delivers on all fronts.

 5. Against Me! - Shape Shift With Me

Admittedly, I'm a super late-comer to Against Me!. I really got to know the band about a year ago after giving 2014's "Transgender Dysphoria Blues" a few spins and realizing how brilliant of songwriter Laura Jane Grace was. I'd actually seen them open for Foo Fighters at the Garden nearly a decade ago but totally did not recognize their greatness at the time. My loss. But fast-forward to 2016, "Shape Shift With Me" came out and it follows in TDB's lead. It’s a bit smoother around the edge, a bit less punky, but the songs are every bit as wonderful. Where its predecessor was noteworthy for its courageously open-wounded honesty, Shape Shift With Me finds its charm in how comfortable the band sounds. "333" was the lead-off single and it stomps along with a driving verse and an all-out anthemic chorus, while the angular guitar lines of “Crash” pair perfectly with its poppy verses, and “Haunting, Haunted Haunts” is a southern-tinged barn-burner that never lets up. Though the band has evolved from their raucous beginnings, Against Me! still has plenty offer in the way of more structured, pop-based punk songs.  

[thepermanentrainpress]

THE PERMANENT RAIN PRESS INTERVIEW WITH SCENIC ROUTE TO ALASKA

Edmonton’s Scenic Route to Alaska is celebrating the release of their new album, Tough Luck. Certainly not luck, however, is their talent. The Canadian indie rock trio, comprised of Trevor Mann, Shea Connor and Murray Wood, brings an exuberance that is contagious (and memorable!). Full of rich arrangements, melodic riffs, and unrelenting vocals sung with a relaxed flair—the album is an impressive follow-up to their critically acclaimed album Long Walk Home. 

Congratulations on the release of Tough Luck! Tell us about the major themes in the new record, and what was the songwriting process like for you?

In a lot of ways, Tough Luck feels like our most honest effort to date. The record feels sonically punchy and uplifting melodically. Lyrically, the new album tackles the unique lifestyle we share as touring musicians – contemplating themes of self-inflicted loneliness and fleeting relationships. 

The writing process was fairly intuitive. I (Trevor) spent two solid weeks in the basement of our band house flushing out new ideas before we headed into the studio. I think this rushed, yet focused, approach made for a cohesive album with consistent themes throughout. 

Let’s talk about your music video for “How it Feels.” It’s a great track, but the video definitely adds an unforgettable, entertaining layer. Take us through the initial idea and filming.

The video was an absolute blast to shoot! We were lucky enough to work with a local (Edmonton) twenty-five-year wrestling pro named MASSIVE DAMMAGE. He brought a lot to the table, including: the ring, a few training sessions, choreography, a young up-and-coming wrestler (Cody “Young Blood” Blayde), and a badass attitude (plus, he actually roughed us up pretty good!). One of the underrated parts of being a musician is shooting music videos and, in turn, throwing yourselves into situations that you’d normally be steering way clear of. We got a pretty quick glimpse into the world of wrestling and it was super cool. Worth all of the bumps and bruises, for sure!

How have you grown as artists since your debut record in 2012?

I think we’ve all progressed steadily together, over the last six years. We seem to be touring more and more with each album cycle and that kind of experience, musically and in life, keeps making us more mature and competent players/humans. I’d like to believe that everything we have put out has been honest and from the heart and it seems like the more we create, the more we find an eloquent way of showcasing that growth in our tunes.  

On a more personal note, how has your friendship progressed?

It’s been a wild ride! We’ve all known each other since we were kids so it’s pretty hard to phase us at this point. We were actually living together in a band house (we dubbed “The Jazz Café) for the last 2 years but, unfortunately, had to move out right before the start of this big tour! It was pretty intense to spend 7 months on the road together and then come home and live under the same roof. 

Although, I think we did a great job of it and still spent most of our free time together playing video games and throwing darts at the walls. If anything, this change of pace is going to make it so that we’re more excited to get out on the road to spend time together!   

You worked on the record in Vancouver and have played in B.C. a number of times. What do you love most about the city?

Ooooh, that’s a tough one! Vancouver is such a vibrant city and has always been so welcoming. I think I’d have to go with all the amazing food! While we were recording, there was never a shortage of good grub, from the sushi to the burritos (and the sushi-burritos) and everything in-between. 

You took home a number of awards at the Edmonton Music Awards last year, a city that has supported and embraced since you since your beginnings. What can you say about the city and the Edmonton music scene? How much have you enjoyed being apart of it?

We have a hard time describing our undying love for Edmonton. The community is so tightly-knit, yet so inclusive. Musicians from all different genres hangout, collaborate, and support each other in following their dreams. We’ve experienced so much positivity and encouragement from local promoters and all of our fans that we’ve honestly never second guessed what we’re doing! I can’t wait to watch the scene grow more, there are some extremely talented cats in town these days! 

You’ll be heading out on an extensive tour throughout North America and Europe. What do you enjoy most about being out on the road and performing live?

I just love taking it all in. It’s pretty surreal that we are able to fend off day jobs by making loud noises and meeting nice people every night. Sometimes, especially on the busy tours, it can be a bit overstimulating and fast paced - but, when that’s the case, we just focus on putting all of our energy into playing a kickass show!  

Why should people come out to a show? Give us a pitch.

We genuinely love what we do and we try to convey that every time we hit the stage. We wear our hearts on our sleeve up there and hope that people can sense the honesty and joy in what we do. You can pretty much expect three best friends (and big dorks) rocking our faces off up there. 

Because Canada is a hockey loving country, we have to ask which team(s) you root for, and who are your favourite players?

This is an easy one! We all grew up in Edmonton so, without a doubt, our favourite hockey team is the Edmonton Oilers. As for favourite players: ALL OF THEM. Just kidding (not really), but if we had to pick a few, it’d be Connor McDavid and Leon Draisaitl. Those kids are totaallllly insane.  

Who are some artists that you are listening to on your playlist?

Currently jamming out to: Wintersleep, Big Thief, Close Talker, Peach Pit, Dr. Dog, Phosphorescent, and so many more as this tour continues.  

Our signature question – if each of you could be any ice cream flavour, which would you be and why?

Trevor: I’m gonna go with Banana Cream Pie (if such a a thing exists.. plz say it exists?) because that’s my favourite dessert and these other two dudes always say it’s pervy and make fun of me for it! 

Murray: Mint Chocolate Chip because it’s way better than brushing your teeth! Shea: Cookie Dough because that sh*t’s tasty.

______________________________________________________________

Thanks to Trevor, Shea and Murray for taking the time to answer our questions! Visit https://www.scenicroutetoalaska.com/ to purchase their latest record, listen to music, and stay up to date with upcoming tour dates.

Photo credit to: Michael Johnny Carson Kuby

[mitchwritesthings-blog]

Mitch’s Music Year-in-Review

What this is?

My name is Mitch, although sometimes I say it’s Jeff, and I just wanted an outlet to discuss how my experience with listening to music was in the year 2017. Now, this is completely my taste in music, and only what I listened to. I don’t really keep up with new music all too much to be honest, so before I write this, I’m not sure how many 2017 albums will actually be in my 2017 write-up. There will be quite a few albums from the 00′s and 10′s that I had listened to the first time, as well as albums that have been my favourites for years that I still wanted to talk about.

What will be discussed?

i. 2017 album releases “After Laughter” ~ Paramore “Reputation” ~ Taylor Swift “Waiting on the Sun” ~ Jule Vera “Wolves” ~ Story of the Year

ii. 2016 albums releases that I can basically pretend are new releases “E-mo-tion: Side B” ~ Carly Rae Jepsen “Neptune” ~ Tall Heights “Yellowcard” ~ Yellowcard

iii. Albums that are nowhere new releases, but are new to me “stellastarr*” ~ stellastarr* “E-mo-tion” ~ Carly Rae Jepsen

Now before we get started

An introduction on my musical tastes. Since the early-to-mid 2000′s, I have been a pop-punk kid, whether I knew it or not. The videogame soundtracks from EA games (EA Games, EA Sports, and EA Sports BIG), heavily shaped my taste in music. Yellowcard, being my favourite band ever, were included in some of these soundtrack, and in section B I’ll be talking about their self-titled album- which was an emotional one for me. Story of the Year and stellastarr* were discoveries of mine for similar reasons to Yellowcard. The remaining artists I listened to from doing my own research (Jule Vera), them being popular enough -slash- from people I know (Paramore, Taylor, Carly), or from being blown away at a show (Tall Heights). So without further adieu, let’s get started!

2017 album releases

“After Laughter” ~ Paramore

I’m writing about these albums in alphabetical order of their category, so some of the stories and descriptions might be a bit disjointed- but fuck it- it’s just a Tumblr post. 

Being a pop-punk kid that was transitioning into a girl pop guy, what a better way to merge the interests than with Paramore. Now, this album is not pop-punk, but that doesn’t mean it’s not great! In fact, the 80′s emotional pop vibes are amazing after playing the shit out of E-mo-tion, and needing more of those vibes.

About the album itself, it starts off with the wildly-popular Hard Times, which is not something I entirely love in theory. I don’t think it’s ideal to start off with the lead single for an album, it kinds sets you up for disappointment. And while Hard Times is a much poppier song that most of the album, I don’t think it necessarily does a bad job as the opener. It gets you jumping, ready to dance to the 80′s pop, while also introducing you the darker lyrics that are to come from a post-divorce album (Hayley split with lead singer of New Found Glory Jordan Pundik prior to the album’s recording).

The rest of the album is a nice journey in vibey aesthetics (definitely using Tumblr language here), with ebs and flows of energy. It’s hard for me to pick a favourite from it; trust me, I’ve had many many of these songs stuck in my head at some point. If I had to, however, I’d pick Fake Happy. The lyrics are very honest, and it kinda fucks you up a bit; starting off pretty depressing and then turning into a hell of a bop. Following is the real depressing song, 26, so it’s quite the two-song journey they put you on there.

Overall, it’s a very strong album both musically and lyrically, and would encourage anyone to pick it up. If you like Paramore, you’ll love hearing Hayley bleed her heart out. If you’re not, it’s a good fucking album anyway. 8.8/10

“reputation” ~ Taylor Swift

If I’ve linked you to this, you know I’m a major swiftie; I’ve got tickets to both of her shows in Toronto for August. So this album is a pretty big album for me. That being said, I was not completely blown away by this album- which didn’t surprise. After Look What You Made Me Do’s release, I kinda went “Okay, I know how this is gonna go”. It’s gonna be a solid pop album, but trying a little too hard being edgy and dealing with her reputation while subsequently pretending to not care about it.

Now I say I wasn’t blown away, but upon first listen, the first three songs were pretty damn impressive, and still are. Ready For It, which by the way is an incredible album opener and I knew it would be the moment I heard it, obviously starts it off well. End Game is a very single-worthy song, and introduces you to the overall theme of the album. And I Did Something Bad has a pretty fucking great chorus. Don’t Blame Me didn’t blow me away right away, but I grew on me pretty quickly, and it’s a top track for me. 

After that, in the middle, is where the album really faulters. Delicate and So It Goes... are the weakest tracks on the album in my opinion, and they flank the lead fucking single, all but killing it’s strength from the perspective of the album. And after that, Gorgeous, which while a promotional single, is not in the upper echelon of rep songs. So you’ve got your 5 through 8 songs effectively killing any momentum your incredible starting batch created. 

Following that is a very strong song, Getaway Car, and the beginning of reputation’s resurgence. Track 9 is probably the most 1989-sounding song on the record, and that is definitely a compliment in this case. Taylor tells a clean story, and gets to show off her pipes towards the end of the song. King of my Heart is a little meh in my eyes. It’s one of those classic Taylor songs that are on album and you’re like “Did this really have to be there?”, which is something 1989 actually avoided, and could be why I prefer it over rep. Dancing With Our Hands Tied was one of my favourites right away, although it’s a little underappreciated from what I’ve seen from the fandom on IG. Dress certainly gets the point across that this a new Taylor. She’s gone from “She wears short skirts, I wear t-shirts”, to basically saying “Boy, take this dress off and fuck me”. Something I’ve failed to mention, is the very consistent themes of alcohol consumption (in a recreational way) and getting good dick from her bf littered through the lyrics of this album- just so you know. This Is Why We Can’t Have Nice Things is the second direct Kanye diss on the album, and absolutely deserving of a single. Call It What You Want should have been the final song, but Taylor had to go and pop cliche it up and give the last track to a boring acoustic song that makes you think “That’s it?”, when it’s done. With an album this momentous, you gotta go out with a bang!

Overall, it’s a better collection of songs than it is an album. You could put in on shuffle, and it’d hold the same value. The pacing is a bit off, and it doesn’t really take you on a sonically cohesive journey. So for that reason, I can’t give it any higher than an 8 (the equivalent of an A-minus), but the songs themselves are still pretty good. 7.8/10

“Waiting on the Sun” ~ Jule Vera

I need to tell you guys about this band before I get into the album themselves. They are amazing people. Before Warped Tour 2015, I was listening to artists that were gonna be on the tour, and Jule Vera showed up on my youtube suggestions, so I checked them out. Fucking great. They had just put out their debut EP Friendly Enemies, which you should absolutely check out by the way, and I knew all the words by the time Warped came around. Now, they just put out their debut, so not really many fans at the side stages. In fact, I was the only person who knew the words in the crowd. But their set is bumping! They incorporate a lot of different parts of the stage in their act, sometimes disassembling the drum kit itself and having multiple people playing each part- it’s great. Their lead singer, Ansley, has got some serious pipes. The band will go as far as she takes them, because as that stage presence builds- watch out! I can absolutely see them making it big with the kind of energy they have, their songwriting chops, and a good-looking incredible female lead singer. 

I talked with them after their, got a picture, and my album signed, and I was on the bandwagon. I’ll follow these guys and gal for as long as they make music- which includes coming back to Toronto in March after two-and-a-half year, and you bet your ass I’ll be there buying all the merch and hopefully getting some hangs with the band. 

Oh yeah... there’s an album to talk about. Waiting on the Sun went in a much more poppy direction than their EP which i brought up earlier which was an alternative record. Despite the stylistic change, it still bangs. Ansley shows her singing chops, and despite only having put out 18 songs total, they show they have an incredible amount of diversity with the kind of songs they can right. Something Good is the bounciest chorus I have ever heard, check that shit out right away.

In complete honesty, the album kind of pales in comparison to its alternative predecessor, at least in my opinion, but it’s not bad. I think the stylistic change was a decision made my the label. They have a lead singer who could be a solo artist once the charisma gets there, so they tried to do a poppy singer-heavy record. They’re still trying to figure out what they are, but once they do, the sky’s the limit.

I love these guys, and even if the album didn’t blow me away, I’ll support them whenever they need it! 7.6/10

“Wolves” ~ Story of the Year

This long-awaited came out this month, so I won’t be able to fully express how I feel about, considering I’ve only given it a handful of playthroughs. But let me tell you, it rocks. It post-hardcore/melodic hardcore/pop-punk rocks. These guys’ Page Avenue was a killer album, and 14 years later, they’re still putting out tracks with the same amount of energy and attitude as when they were kids. But better yet, there’s a more musicianship and polish (not in a bad way) to make it even better. I haven’t listened to this album yet with headphones on chilling on the bus- which I think is a good barometer for the quality of an album- but I know it’ll be a great trip on the 200 iXpress when I do.

Right away you’re hit with trademake SotY energy, and it doesn’t really go away, at least not until you’re left utterly satisfied. How Can We Go On is a great way to get things going, and it keeps going. Songs like Bang Bang, and Can Anybody Here Me are terrific too, and there are definitely more- I just haven’t listened enough to get the song names down pat.

Just listen to it, trust me. Since it’s a very fresh listen to it, I don’t feel comfortable giving a definite score. So instead I’ll give it a bare minimum score and an absolutely peak score: 8.2-9.4/10, likely falling somewhere in the middle upon further listening.

So what’s my favourite release of 2017?

Well, to be honest, I don’t know. Wolves falls both above and below After Laughter, so I can’t say conclusively what I like more. If I had to, I’d give the edge to Paramore, since it’s stood the test of multiple listens, whereas there still can be some uncertainty with a brand new release. 

What I did learn is that I need to listen to more new music. Only 4 albums throughout the year that I felt inclined to write about? The Used and Brand New put out new music, but they haven’t gotten enough listening to warrant anything more than honourable mention.

2016 albums releases that I can basically pretend are new releases

“E-mo-tion: Side B” ~ Carly Rae Jepsen

Carly is the GOAT, mess me with that Taylor shit. Despite having only listen to Side B for maybe two months- three tops- this is **spoiler alert**, my favourite thing I listened to this year. It’s just 8 bops. I can talk about it not being very “albumy”, but it’s a b-side release, who cares? You get 8 extra tracks that are all great, after Queen Carly gave us the gift that was E-mo-tion. 

I feel like it’s kinda split into two four-song parts, with Fever acting as the end of Act 1 and Body Language bringing in Act 2. 

First Time is a very fun start to the whole thing. It just bops. Carly’s vocal ability really shine in this release, and there are few good lyrical pieces too- so overall a very good showing from her herself.

Higher is an excellent second song... I don’t think that’s a compliment many people think about. But it starts off very quickly, no real lead-in, with an upbeat verse, than leads you into a chorus with leading and backing vocals. It says something about the album when I consider this to be one of the weaker tracks on the album- it’s still a great song! And I think that’s one of the benefits of a shorter album, there’s no filler!

The One again is a song that in comparison to the rest of the record, isn’t gaudy, but it’s still really good! All of the choruses on this album are uber catchy, you’ll have them all stuck in your head at some point. For an album I love so much, I’m kinda talking shit to start, but it’s good! This a really fun album to listen to it, and I’ve done a lot of singing in the shower to it.

The problem with the last two tracks, is that they didn’t really stand out to me. They were great, but not stand-out great. The rest of the album will stick in your mind a bit more vividly. Fever talks about stealing her man’s bike, who does that!? If this were a 4-song EP, this would be an excellent song to end it off with, but instead it leads you into another set of four bangers!

Body Language is a hell of a song. From the get go, you’re bouncing at the verse, hoping you’ll get an equally boppy chorus- and you get it! The anti-melodic ending to the chorus is kind of genius. “I just think we’re over thinking it, over thinking it” is intentionally disjointed, and it helps illustrate actually over-thinking something. Great song.

Cry really gets into the “emotional” part of emotional 80′s pop. It’s an incredibly honest song, and delivers such heartfelt lyrics, while still maintaining the level of catchyness ever-present in the album. Where most pop albums have latter-half songs that make you scratch your head about their inclusion, this album does the exact opposite. These b-sides would be singles on other artists’ best-of works. 

Store is iconic. Just go listen to it. Go! Best chorus ever. Solidifies Carly as GOAT status. Nobody else could ever write that. The choppy sentences are intentional. 

Roses is a nice chill, vibey, emotional finale to an absolutely stellar album. Strong lyrics, compelling verses, catchy yet deep chorus- everything this album is condensed into one song- reminding you why you loved what you just listened to so much.

I need CRJ4 asap. I fully expect it to be a masterpiece no matter what direction she goes in (which I heard yesterday was Disco, btw). 9.6/10

“Neptune” ~ Tall Heights

I saw these guys open for Ben Folds (who, by the way, is amazing live), and they blew me away. They’re a progressive folk duo-tuned-trio, with absolutely beautiful vocal harmonies-oh yeah, and a cello, how cool is that!?

It’s an beautiful record, the instrumentation is terrific, and the vocals are gorgeous- which isn’t something you necessarily hear a lot from male-sung bands. This is the kind of record you put on when you’re staying in on a weekend evening. and just wanna do some solo chillaxing- which is something I do quite a bit. It’s also good for falling asleep to, once you learn the melody and lyrics. I’d imagine it’d also be dope as fuck to listen to when passing a joint around. It’s super chill, sets a terrific atmosphere, and it takes you on a nice little journey. 

It’s not necessarily an album that would yield any huge radio singles, but I have no problems with that whatsoever. You can just press play on this bad boy, and you know it’s gonna do it’s job. Now given the mood it sets, you’re not always gonna want to have this playing, but when you do you’ll be so glad you have it for those moments. 8.9/10

“Yellowcard” ~ Yellowcard

youknowihadtodoittoem.png It’s the last record every to be made by my favourite band, I had to write about it. I’m gonna start from the end though. Fields and Fences is the absolute perfect way for Yellowcard to end their careers. It’s not what I expected, nor what I would have said I wanted, but it was total and complete perfection. It kind of acts of a microcosm for the Lift a Sail era and on, where the guys pretty much left the pop-punk deal behind and went for a more alternative. Fields starts off basically as a country song, and you’re kinda disappointed, much like many YC fans were with LaS, but it keeps going, and you start digging it. And then, it stops, and you think it’s over. “That’s how it ends?”. No, that’s when it starts. You get the electric guitar, you get “I don’t have much that I can give to you...”, on repeat, and then it fades out, and every single Yellowcard fan is put in an absolute state of bliss when they hear almost 2 minutes of just Sean’s violin taking them by the hand and emotionally leading them to the end of what was an incredible 20-year journey. You’re listening to it, and you’re so thankful for those 90 seconds, because it allows you to reflect on all of the great memories this band has given you. And you don’t want it to end, and you savour ever note coming from Sean, as well as the return of Rodney and Christine, and you’re so happy. But you realise, it has to end, and it does. And not even with a cry, but more of a whimper. But it’s not a bad whimper. It’s a releasing of the bow for the very last time, and you think to yourself “Holy fuck, I love this band”. Then you stare at whatever your audio source was for that last first listen for a few minutes, and you’re at peace. You’ve listened to the last Yellowcard record ever, and it’s a bittersweet feeling. You’re glad that the guys went out on such a beautiful note, but you’re sad because you realise they could keep putting out beautiful records, but that will never happen again. 

That is what this album is. This what this band is. The rest of this album could’ve been 40 minutes of farts, but if it end with that song, it’d be great. 

Now I understand that objectively, this is not a perfect album- nothing is. Some of these songs aren’t great. But I can tell that at that very moment, when I heard the very last playing of violin on a Yellowcard record, I felt perfectly at peace with myself and who I was as an Underdog- something I’m proud to be, and always will be. 

Fields and Fences, as a song, for a Yellowcard fan: 10/10.

I was going to write about more albums, as you can tell by the table of contents I made. But I think that was a good place to leave things. Thank you for reading all of this. 

Mitch