At a time when many bands would rather stick to trends than take a risk, Peace’d Out shine as something fresh that hopefully won’t be another one-and-done side project. The members take elements from each of their respective bands and put a collective spin on things, creating a sound all their own.
Hailing from Newport News, VA, Holly Would… are a breakout pop rock band with a southern rock flair that’s way too easy to fall for. Just a few months after signing with One Day Savior Recordings, the band have debuted a full-length album that establishes them as a versatile group of musicians that can write a song for just about anybody.
For fans of the Pompano-based emo act Further Seems Forever, the wait is finally over! The 11-track Penny Black is a mature conglomerate of upbeat, heartwarming, and sometimes dark songs.
Colourmeinkindness is a force to be reckoned with. Working with producer Sam Pura (The Story So Far, The Limousines), Basement have given it their all in what will be their last effort before going on hiatus.
Texas In July have taken the best parts of One Reality and stepped their game up. With a song for every shade of hardcore, Texas In July show that they can adapt their music from one album to the next and still crush it.
Cinematics, the debut full-length from Tampa-based theatrical pop rockers Set It Off, may be one of the most diverse albums of the year. Having wanted to go for a more orchestral feel, listeners can expect a dramatic sound filled with perfected musical craftsmanship in each track.
[imgfull] [/imgfull] This week Josh shares some independent film suggestions along with music from Strange Talk, Generationals, Lord Huron, and more.
With his debut LP It’s Not An Excuse, It’s A Reason, Marcio Novelli proves that great music isn’t written with intentions to impress the masses, but as a personal anecdote by the musician. Recorded in just two weeks and produced by Jim Wirt (Incubus, Jack’s Mannequin), Novelli’s debut is a revival of simple pop rock with meaning, the kind that has been fading out since 2005.
The first challenge of properly absorbing Benjamin Gibbard’s first solo album Former Lives: separating the Death Cab For Cutie and Postal Service versions of Gibbard from the solo one. The new album is more gritty and acoustic than his former beloved gentle indie catalogue, true, but Former Lives needs to be experienced in its own right without any shackles of the past.
Cone, the accomplished bassist of Sum 41, brings his wealth of experience to the airwaves with “Cone’s Cave.” As Sum 41 prepares to conclude their remarkable journey as a band, Cone’s new radio show promises to be a testament to the band’s legacy and an exciting new venture for their dedicated fanbase.
