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02 Nov

The best music we’ve heard from Detroit in a long time is coming from IAMDYNAMITE. The indie-party rock duo of Christopher Martin (Guitar, Vox) and Chris Phillips (Drums/Vox) released their debut full length album Supermegafantastic (iTUNES / CD) earlier this year on Brando Records. We’re in love with the tracks “Stereo” and “Where Will We Go.” It’s just high-energy fun music that will have you drumming along on whatever’s near you, your coffeetable, desk, laptop, little brother’s head (jk kinda).

Take a listen to (and download!) both songs below:

IAMDYNAMITE just kicked off a fall tour with SUM41. See the dates below:

Oct 31- Deco & Deluxe At Old Centre- Indianapolis, IN
Nov 2 – House of Blues – Chicago, IL
Nov 3 – Bogart’s – Cincinnati, OH
Nov 4 – Royal Oak Music Hall – Detroit, MI
Nov 5 – House of Blues – Cleveland, OH
Nov 7 – Town Ballroom – Buffalo, NY
Nov 8 – Phoenix Concert Hall – Toronto, ON
Nov 10 – Metropolis – Montreal, QC
Nov 11 – Imperial – Quebec City, QC
Nov 14 – Irving Plaza – New York, NY
Nov 15 – TLA – Philadlephia, PA
Nov 16 – The Paramount – Huntington, NY
Nov 17 – Chameleon Club – Lancaster, PA
Nov 19 – Met Cafe – Providence, RI
Nov 20 – Paradise – Boston, MA
Nov 21 – Club International – New Britain, CT
Nov 23 – Crocodile Rock- Allentown, PA
Nov 24 – Starland Ballroom – Sayreville, NJ
Nov 27 – The Fillmore – Silver Spring, MD
Nov 28 – Alter Bar – Pittsburgh, PA
Nov 30 – The Norva – Norfolk, VA
Dec 1 – Orange Peel – Asheville, NC
Dec 2 – The Fillmore – Charlotte, NC
Dec 5 – Masquerade – Atlanta, GA
Dec 7 – The Ritz – Tampa, FL
Dec 8 -The Rave- Milwaukee, WI (FM 102.1 Big Snow Show 7)*
Dec 9 – Culture Room – Ft Lauderdale, FL
Dec 14 -Verizon Theatre- Dallas, TX (How The Edge Stole Christmas)*
Dec 16- Emo’s East- Austin, TX (101X Independent Workforce Xmas)*

*radio shows will not feature Sum 41


26 Sep

Thanks for tuning into the latest installment of Let’s Get Personal (Welcome To 1,2,3 Land) as we look into 1,2,3′s recording process of their forthcoming concept double album Big Weather. When we last checked in with the band, they were working on the song “When The Levee Broke at the County Fair.”

In today’s episode, you’ll see how Josh was nearly sidelined with an injury and how a computer problem put the band in a deep hole. Will they overcome it? Watch the video below but first, a few words from Nic Snyder and another free MP3 from the band’s previous album New Heaven

This song started out on the front porch and just kept growing. Next thing you know it’s on the back porch, then down by the garbage cans and before we knew it, it got into the basement and started lurking around after practices and fruitless recording sessions. I kept hoping I’d wake up one morning and it would have finished itself, but it clearly had no intentions of finishing itself. Now it’s over seven minutes long and is choking out the other songs on deck like an endless weed winding around the azaleas. After awhile we just had to record the damn thing in hopes that it would leave us alone one day. But it’s still giving us hell and growing out sideways now to the point where it’s gonna bust through the block glass of the basement window, spraying out onto the lawn, hiding in the bed of the neighbor’s Tundra. Think I’ll make the lyrics about a wild fire. “Peerless fire…swaying from pinetrees, licking the planes.”

19 Sep

When we last checked in with 1,2,3 (watch it here), the band was giving us a brief tour of their studio and a glimpse of what’s going on as they record their new album Big Weather. This week, the band will tell us about a new song.

The band’s guitarist/singer Nic Snyder has asked us to have this sound clip here for you to listen to while you read his message below and the lyrics to the new song “When The Levee Broke at the County Fair.” Check it out below as well as the newest studio diary video.

We actually went to a county fair with a field recorder for this one, trying to pluck that “real fair” feeling out of the air. This is one of the first ones I wrote for the album. This one and “Bus to Babylon” were light bulb moments, like, “okay, this is what the lyrics are gonna be like”. They pretty much read like prose in a pop song format. – Nic Snyder

When the Levee Broke at the County Fair

When the Levee Broke at the County Fair I was threading my fingers through your hair; feeling all the things that a boy should feel when you’re at the peak of the Ferris wheel.

When the Levee Broke at the County Fair there was a shriek so loud it was hard to bare. I put my lips to your ears and said, “I know, I know”, and I held you as the big brown waters rose.

All the little bowls of gold fish were now free to swim just where they wish, and all the lucky ones in the tunnel of love were now floating out above the shuttle buses, but it never did rain. It was just a big brown wave.

When the levee broke at the county fair all the funnel cake girls just froze with fear. The Tilt-a-World tilted like it shouldn’t tilt, as the haunted house trailer got haunted for real.

When the levee broke at the county fair there were bodies, popcorn, and soggy sawdust bears. I threw a quivering kiss to you–cute and blue–and we slipped into the night like lovers do.

All the little bowls of gold fish were now free to swim just where they wish, and all the sorry souls at the tractor-pull were now clawing water trying to stay afloat, but it never did rain. It was just a big brown wave.

07 Jun

By now you’ve all had a chance to digest Muse’s new album trailer. If you haven’t watched it, check it now.

Are you confused, excited or disappointed?

Where exactly is Muse taking us with this new album, The 2nd Law?

We asked two of our writers, Michel Dussack and Emilia D’Albero, to analyze the trailer and the promising (or bleak) future for the band’s new music.

Feel free to share you thoughts in the comments section below.


Yesterday, Muse released a trailer for their upcoming sixth album entitled The 2nd Law. The video starts off with orchestral music and a choir backing a news anchor reporting on what seems to be a global financial meltdown. Quite frankly, it’s epic and wouldn’t sound out of place on a soundtrack of a Christopher Nolan film. It’s nothing out of the ordinary for Muse for the first 89 seconds, and nearly every fan I know loved this part. Then at the 90 second mark, Muse did the (at least to some fans) unthinkable and turned the music into something very similar to dubstep backing an image of a robot and people being chased, followed by the music cutting off and the message “New Album. The 2nd Law. September 2012.”

So here’s the thing – from what I’ve seen about half the fans are happily receiving this new sound, and the other half are screaming in horror ready to throw their copies of Origin of Symmetry in a bonfire. The focus of this piece is going to be those last 30 seconds that has everyone divided, because I think we can all agree that the beginning, while excellent, is nothing new from a band that has consistently experimented with orchestration and bombast.

Fans and certain news outlets were quick to point out that Muse had ‘gone dubstep’ and likened them to Skrillex almost immediately. I’d like to address two points here. Firstly, they haven’t gone dubstep. IT’S A 30 SECOND CLIP! Maybe some people feel comfortable judging an entire album of material based on 30 seconds, but personally, I’d like to wait for the album to actually be released before condemning them to a new genre. Let’s look, for a moment, at what happens if I take 30 seconds of each of their prior albums out of context. If we take ‘Unintended’ from Showbiz, they’re an acoustic ballad band; ‘Micro Cuts’ from Origin of Symmetry makes them some weird band with an extreme falsetto based singer; ‘Interlude’ from Absolution makes them an instrumental band; ‘Take a Bow’ from Black Holes and Revelations makes them an electronica band; ‘Guiding Light’ from The Resistance makes them a cheesy anthem band. So clearly we can’t just take pieces of music out of context.

I’d like to add in, that I wouldn’t even call what we hear in this video dubstep. It begins as a guitar riff, and throughout the clip is distorted and warped beyond recognition, much as guitarist Matthew Bellamy typically does with his Kaoss pad in a live environment, but in a similar pattern as dubstep. Yes there are the wubwubwubwub noises you’d expect, but beneath it is also Dominic Howard’s drumming and Christopher Wolstenholme’s bass line. It’s not straight dubstep, instead it’s a fusion with rock, and it’s something that seems a natural progression given the handful of electronic tracks on the last couple albums.

My second point is that for some reason, dubstep has become a dirty word in the music world. People like to hate it. And the people that do have good reason to – some of it is awful. But to witness dubstep in a live environment by a master of the art, it clear that this is more than a few wubwubs and a ‘drop’. Dubstep blends all sorts of seemingly random noises to create music, and to be able to manipulate that many sounds at once like some artists do, is nothing short of art. So what I’m really trying to say is, so what if Muse makes a dubstep song? If anyone can pull it off, especially in a live environment, Muse can. Take Bellamy’s guitar playing along with his ability to manipulate sounds via the aforementioned Kaoss pad and touring musician Morgan Nicholls and they’d be able to do it better than anyone in the business, without the need for giant stage setups. Muse have never been a band that puts out what other people want to hear, and it honestly feels like this is a natural combination of some of the heavier elements from their songs and their electronica tracks.

Obviously this video has polarized their fans, but what it’s really done, is create such a stir in the music community that it’s hard to avoid talking about it. Isn’t that exactly what an album trailer is supposed to do?


Muse’s controversial new “album trailer” has been steadily making its rounds on the internet in the last couple of days and has elicited strong reactions from fangirls and casual fans alike. The 2-minute video is packed with many different themes and sounds, both new and familiar, which have created an extreme polarizing effect throughout the Muser community. The video, which features about 90 seconds of intense orchestral music and heart-wrenching chord progressions, ends with 30 seconds of what sounds like dubstep, or what I like to call “Bellamy-has-lost-the-plot-completely-step”. Although this video has gotten a number of responses, both good and bad, I myself do not like this new territory that Muse have ventured into. My argument will be based upon three key points: 1) Muse are known for their live performances; 2) Bands who “experiment” with their sound are not always necessarily successful; and 3) there is a very good possibility that Muse are trolling their fans.

There is no denying it- many of Muse’s strengths are in their live performances. Matt Bellamy is a terrific, entertaining frontman who knows how to work and crowd and an instrument at the same time, which is very rare these days. The band has won numerous awards for their live performances, including NME’s “Best Live Band” award and Q’s “Best Live Act in the World Today,” all of which are extremely impressive and extremely accurate. Anyone who has ever seen Muse perform would agree with this, but there is certainly a reason why this band has come so far and become so well-known for their performances. It’s simple, really- Muse know how to rock. Or at least, they used to. Nowadays, you get “Newborn,” “Time is Running Out,” and “Supermassive Black Hole” (and maybe “Citizen Erased,” if you’re lucky) during the main set, and “Knights of Cydonia” in the encore, and the rest of the set is full of their newer, lighter tracks that the fans don’t seem to enjoy as much.

A few years ago, Muse would play some of their heavier tracks, like “Dead Star” and “Hysteria,” and their crowds would go wild, moshing and jumping and screaming lyrics. Since the release of their most recent album, The Resistance, the energy level at their shows has dipped; during their set at L.A. Rising last summer, Muse played a few tracks off of The Resistance and some people in the crowd who were waiting to see Rage Against the Machine actually started setting things on fire to pass the time. If that isn’t a hint to bring back the heavier stuff, I don’t know what is. My point is, Muse are known and loved for their ability to seriously rock and blow the roof off of a venue, which you simply cannot do with orchestral music and Bellamy’s underdeveloped version of dubstep. What would you rather hear from a live rock band, the “Heartbreaker” riff or Bellamy twiddling randomly on his Kaoss pad for 30 seconds? I’ll take the riff, please.

There is a reason I don’t pay to see Skrillex or any other dubstep artist live- If I’m paying for a show, I should at least be paying for an entertaining show, not to watch a guy with a stupid haircut press buttons and spin knobs. Matt Bellamy has an exciting personality on stage; he does crazy dances, abuses his instruments in the best of ways, and he really knows how to entertain a crowd while still being the incredible musician that he is. I believe that most fans would want to see Bellamy dancing around the stage and only playing with the Kaoss pad a little bit, instead of seeing him produce dubstep with the Kaoss pad.

I mentioned before the shift in setlist quality from then to now, which supports the argument for my next point- experimenting isn’t always a good thing. Sure, Matt Bellamy is an excellent composer and I love when he puts bits of classical music into his songs, like “Butterflies and Hurricanes,” but writing a 3-part “symphony” was a little strange for a rock band. I understand that Muse have always been somewhat strange and so has their music, but they have always come back to their roots- good, loud, head-bang-able rock music. I respect the decision and ability of a band to experiment with their sound and change things around, but sometimes it just doesn’t work.

The Resistance is a prime example of how Muse’s experimentation just didn’t work; “United States of Eurasia” was pretty but boring, “Guiding Light” is almost unbearable to listen to, and the “Exogenesis” symphony left me wondering if Bellamy was playing a joke on us or if he had really forgotten that a guitar riff is a thing that exists. Since then, the material that Muse have been putting out has just gotten progressively worse. “Neutron Star Collision” is an abomination of a song that I listened to twice and am still trying very hard to forget about, and now this “album trailer”. This video does not show Muse’s progress since The Resistance; if anything, it shows regression.

They have simply taken the “dystopian conflict” theme too far, and this video makes it extremely cheesy. I mean, really, Muse? Violins playing a quick, frightening tune over a concerned-looking news anchor talking about an energy crisis? It’s like you composed the soundtrack for watching the news. Even the graphics in the video seem similar to the graphics they used on The Resistance Tour in the last few years. Quickly changing numbers and images of an imperfect world are getting old, as is the use of classical music. We’re fully aware of what an incredible classical musician Bellamy is, but I think that he should use that particular talent for composing more film scores instead of symphonies on his albums. As I mentioned before, the fans have had a more intense reaction to their heavier stuff, and many have scorned their most recent releases. Quite frankly, I am hoping that this 2 minutes video is not an accurate preview of what’s to come, but rather an overdramatic publicity stunt to get people interested to see what Muse will be doing next.

Of course, there is a possibility that Muse are, in fact, “trolling”. Back in November when they started recording, Bellamy took to Twitter and asked the fans what “musical direction” the band should go in. Obviously they received a flood of responses and Bellamy jokingly responded with “Ok, will start on christian gangsta rap jazz odyssey, some ambient rebellious dubstep and face melting metal flamenco cowboy psychedelia.” Obviously putting all of that on one album would be difficult, if not impossible, but it seems like Bellamy is attempting to do at least some of it in the album trailer. Muse fans have always been a bit overzealous, to put it lightly, and Muse have always been a bit ridiculous and bombastic, so I definitely wouldn’t be surprised if The 2nd Law were just an elaborate hoax to get the fans riled up and ready for the real album to drop. The other element of the video that makes me think that it could be a joke is the font that they used. Call me crazy, but the block letters look like something I could have created on Microsoft Powerpoint in the 5th grade. I just think that Muse are classy enough to have chosen a more elegant, appropriate font for the heavy subject matter that they are tackling with this video.

In my opinion, the video as a whole is a little too ridiculous and cheesy to be legitimate, and I desperately hope that Muse are just tricking us. However, this is a two-way street; either Muse are trolling us and there is an actual, decent album behind all this The 2nd Law nonsense, or they really have lost the plot and this sort of bombastic garbage is what they think their fans want to hear. If it turns out to be the latter, I probably won’t be buying a ticket to see them when they come to the New York City area. I guess all we can do is wait and see what happens…

06 Jun

Canadian rockers Rah Rah’s will be releasing Little Poems on 7″ vinyl on June 12th on Hidden Pony Records. The new 7″ single features the quintessential combination of trade-off lead vocals from Marshall Burns and Erin Passmore, told through a poetically skewed lens of life on the road, playing in a band. Little Poems offers two tracks still in the tone of the band’s upcoming full-length album The Poet’s Dead (Hidden Pony Records) which is due out this fall.

We want to offer “Little Poems” for you to listen and download below. Make sure to check out the band in NYC Thursday at Arlene’s Grocery at 9pm. You can also catch them Saturday night at Brooklyn Bowl.

05 Jun

Today’s offering for “Song of the Day” comes from the band Kitten (KittenBand.com). We had a chance to speak with the band’s lead singer Chloe Chaidez last year and loved their performance at the Echo. The band has announced August 28th as the release date for their new EP “CUT IT OUT.” We’ve heard two new songs off of it and we already know that this will be one of our favorite releases of the summer. It’d be greedy of us to not share this new music with you! We’re happy to let you hear not one, but TWO songs from the EP.

Take a listen to “Cut It Out” and “Sugar” below and download both songs here. Also catch the band live this summer (dates below)

Kitten On Tour:

6/13 – San Francisco, CA – Bottom of the Hill
6/25 – Los Angeles, CA – Bootleg Bar
7/16 – Lexington, KY – Cosmic Charlie’s
7/18 – Atlanta, GA – The Masquerade
7/20 – Jacksonville, FL – Jack Rabbits
7/21 – Orlando, FL – BackBooth
7/22 – St. Petersburg, FL – The Local 662
7/24 – Raleigh, NC – Kings Barcade
7/26 – Washington, DC – DC9
7/27 – New York, NY – Mercury Lounge
7/28 – Boston, MA – TT the Bear’s Place
7/29 – Philadelphia, PA – MilkBoy
8/1 – Lansing, MI – Mac’s Bar
8/2 – Chicago, IL – Beat Kitchen
8/3 – Akron, OH – Musica
8/4 – Toledo, OH – The Ottawa Tavern


04 Jun

Few things make us happier than to hear that Saint Motel will be releasing their debut full length album this summer! Voyeur is set to be released on July 10th. The band’s new single “1997″ is up online now streaming and for download. It has that holiday tune feel to it. It’s really great. Listen to it (and download it) below:

Saint Motel will be hitting the road in support of Voyeur. Make sure to see them this summer!

Tour Dates:
07/12 San Francisco at Pop Scene
07/14 Los Angeles, CA at El Rey
07/17 Denver, CO at Larimer Lounge
07/19 Madison, WI at Univ. of Wisconsin
07/20 Minneapolis, MN at 7th St. Entry
07/21 Chicago, IL at Schuba’s
07/22 Lansing, MI at Mac’s Bar
07/23 Toronto, ON at Drake Hotel
07/25 Philadelphia, PA at Kung Fu Necktie
07/27 New York at the Mercury Lounge
07/28 Brooklyn, NY at Glasslands
07/29 Washington, DC at DC9
07/31 Atlanta, GA at The Masquerade
08/01 Nashville, TN at The High Watt
08/03 Houston, TX at Rudyard’s
08/04 Austin, TX at Stubb’s
08/06 El Paso, TX at Lowbrow Palace
08/07 Phoenix, AZ at Rhythm Room
08/10 Santa Ana, CA at The Observatory
08/11 San Diego, CA at The Casbah


03 Jun

We like to reserve our “Song of the Day” feature for songs that we’ll be playing non-stop throughout the day. They’re not always cheery, in fact most of the time they’re not. We could probably feature a different Morrissey song every time but we’re going to go with some really good new music from one of our favorite Australian bands, Cameras. They made their US debut at Culture Collide and CMJ last year (they played our party, they were fuckin great). Don’t confuse them with The Naked and Famous or Gold Fields, this band is a lot darker (and not from New Zealand). Their music evokes this sense of the end of the world (and we feel fine.. sorry).

Enjoy the song “June” below and pick up their album In Your Room

14 Feb

We’re excited to bring you another edition of YNFB. Today, our spotlight is on the band Twin Berlin. Hailing from Boston via Connecticut (I guess we could’ve said New England but we’re not Pats fans), the garage rock trio formed in 2009. If you listen to WFNX (great alternative rock station btw) up in Boston, you already know how great this band is and you’ve probably seen them countless times. We were introduced to the band after they won Guitar Center’s “Your Next Record” competition where they were personally selected as the winners by the one and only, Travis Barker. What did Twin Berlin win in this competition? A load of cash, brand new gear from Guitar Center and Travis Barker as their producer for an EP!

Why did Travis choose these guys? “What drew me to Twin Berlin was their song. It was really catchy and stuck with me.”

The resulting There Goes My Virtue EP is three songs of energetic rock that fuels your soul, pinches your neck, kicks your ass and says “you’re welcome!” To us, the band sounds like the Strokes’ Julian Casablancas channeling Social Distortion’s Mike Ness for the Strokes album Is This It?.

Enough of our babbling, take a listen to the EP below and go see these guys play live.

Thu 2/16 Boston, MA Hennessey’s
Sat 2/18 New York, NY Arlene’s Grocery
Thu 2/23 Boston, MA Hennessey’s
Thu 3/8 Portsmouth, NH The Red Door
Fri 3/9 Boston, MA Hard Rock Cafe


09 Feb

Out of Seattle comes your favorite new band, Ticktockman. No, they’re not superheroes but their music is pretty extraordinary. Ticktockman’s music is raw, energetic and even slightly ethereal. You might think that you’re listening to At-The Drive In or Portugal. the Man but you’re really hearing something entirely different.

We know what you’re thinking, how did they come up with the name? Let’s let the band tell you

“The Ticktockman” is a figure from a Harlan Ellison short story titled, “‘Repent Harlequin!’ Said the Ticktockman.” The character represents a dictator who wants to regiment society and make everyone the
same. “The aggressiveness of our sound is inspired by the frustration of what’s popular in our region today. We want to bring loud music back to Seattle and make the younger generation feel alive through that sound.”

The band started out with Ryan Van Wieringen (Gatsbys American Dream, Wild Orchid Children) and guitarist Andy Lum (Wild Orchid Children) and their first EP Periscope was released in February of 2010. Now, two years later and with Morgan Bruner (guitar), Brock Lowry (drums), and Phil Sells (bass) rounding out the full band, Ticktockman is about to release their debut self-titled album on February 14, Valentine’s Day.

We’re excited about this album and we want to give you a little bit of a taste it. We’re thrilled to premiere the track “Exposé of New Orleans.” Here’s what Ryan had to say about it:

“Exposé of New Orleans” starts out with a Latin groove before it punches you in the gut for 2 straight minutes. The song deals with my obsession with the JFK assassination and some of the events that took place around it. It’d be nice if we were all a little more open minded and didn’t believe everything was always so cut and dry. Just to explore all the possibilities before we believe what we’re told and close the door.”

Catch Ticktockman on tour this spring and pick up their album Ticktockman on iTunes and Amazon MP3 on February 14.

4.1 San Diego, CA @ Bar 11*
4.2 Los Angeles, CA @ The Whiskey A Go Go*
4.3 Stockton, CA @ Plea For Peace*
4.4 Sacramento, CA @ Club Retro*
4.5 Bend, OR @ The Soundgarden*
4.6 Portland, OR @ Backspace*
4.7 Seattle, WA @ High Dive*
* with Culprit