English indie rock outfit The Vaccines – made up of Árni Árnason (bass, vocals), Yoann Intonti (drums), Justin Young (lead vocals, guitars) and Timothy Lanham (guitars, keys, vocals) – dropped a track today that, at first look, could be considered misleading. The title “Love To Walk Away” gives off the impression that the song will be a positive one, perhaps one about finding empowerment in walking away. However, the lyrics come from the perspective of an outsider – an assumed lover – who is experiencing grief as the result of a crumbling relationship. They watch the runner prepare to run. With lyrics like “How come you’re always leaving?” it is implied that this is patterned behavior.
Sonically, there is a sunny disposition that just does not align with the lyrics, almost making the contemplative message more palatable. (Hey, who really loves confrontation or existentialism THAT MUCH?)
Says Young of the release, co-written with Andrew Wells: “This is the song responsible for the album’s direction sonically and thematically. Given the record’s central theme is not knowing what direction you’re headed in, it feels poignant that the music was so sure of itself so quickly.”
Check it out below.
The Vaccines 2024 US Tour Dates with The Kooks Feb 29 – Atlanta, GA @ Tabernacle Mar 1 – Asheville, NC @ Orange Peel Mar 2 – Columbus, OH @ Newport Music Hall Mar 4 – Toronto, ON @ QET History Mar 5 – Montreal, QB @ Mtelus Mar 6 – Albany, NY @ Empire Mar 8 – Boston, MA @ MGM Fenway Mar 9 – Philadelphia, PA @ Fillmore Mar 11 – New York, NY @ Terminal 5 Mar 12 – Brooklyn, NY @ Brooklyn Steel Mar 13 – Washington DC @ Anthem Mar 15 – Chicago, IL @ Riviera Mar 16 – Minneapolis, MN @ Filmore Mar 18 – Denver, CO @ The Fillmore Mar 19 – Salt Lake City, UT @ Union Mar 21 – Los Angeles, CA @ Palladium Mar 22 – San Francisco, CA @ Fox Theatre
If you’re looking for a warm hug in the middle of this frigid (in some places, trust us) day, look no further than the latest masterpiece from queer folk-Americana duo Mouths of Babes. The duo – comprised of Ty Greenstein (of Girlyman) and Ingrid Elizabeth (of Coyote Grace) – recently released their sophomore full-length, World Brand New.
Today, they launch the title track’s music video – a gorgeous day in the life, really – and we are thrilled to be the premiere spot. Explains Greenstein of the album as a whole:
I wrote World Brand New in 2020 during lockdown. After years of touring constantly, we were trapped in a tiny one-bedroom apartment in Berkeley. To our surprise, being forced to stay home was a relief. For the first time, the whole world prioritized rest and safety. We found ourselves delighting in simple activities: listening to records, hanging out with dogs, taking walks, playing guitars.
While we aren’t exactly ready to celebrate the new year quite yet, this song lifts the expectations for the slow, quiet respite of the holiday season. The sunshine in the music video – which features the duo and a dog, making the world their happy place – really drives home the idea that life can be simple and fun.
The slower pace of life made total sense to us both and reminded us of parts of ourselves and of life that we missed. With this video, we wanted to capture that feeling of just being humans without a lot of expectations and enjoying the analog joys of the world. Fortunately, we had a complete blast making the video with Skyler (Jenkins), so all the shots of us cracking up and making googly eyes at each other are 100% authentic.
Further expands the duo: “We felt like this video needed a dog to be complete, but sadly our dog Kali passed away last November. So we borrowed our videographer Skyler’s sweet senior pup July and she did a bangup job! Her slow, chill energy was perfect for the vibe of ‘World Brand New’ and we were fine with her stealing the show.”
Beauty can be found in the small moments, and this season we are truly ready to experience it all. (With the help of Mouths of Babes, of course.)
Well, it seems as though the cold weather is calling. And honestly, it’s been a minute since we curated a soundtrack for your everyday life that pulls in a multitude of brand-new tracks from a variety of genres. We’ve been plotting and scheming for 2024 and, in the meantime, want to ensure we are continuing to bring the best new music finds directly to you. Thank you for your continued friendship and inspiration as a part of this artistic, joyful community.
Well, since we are well overdue, let’s get to it. We scraped around several of our (incredibly full) inboxes. Then we sifted through an abundance of music groups and Google updates. Admittedly, we found some pretty incredible new audible art. The tone of each track brings with it a sense of appreciation. Be it a celebration, an examination of the soul, or a story of love — for anything, really. Some of the most impactful work we have heard lately has included vocal-free tracks. These have allowed us to embrace the magic of man-made instrument, and, often, to indulge in the way said instruments engage with silence.
Today, San Diego rock act Embers releases To: The Moon, a 5-track EP that will get you on your feet, jamming out to anthemic melodies about mistakes, intrusive thoughts, and other relatable material. Sleeping with Sirens’ Kellin Quinn guests his notable vocals on the EP’s second track, “eating me alive,” giving this otherwise dark track another intense and beautiful layer.
Explains Embers of the EP: “’To: The Moon’ is a melting pot of my influences using inspiration from pop punk and emo to reflect on mental health struggles, toxic relationships, and emotional turbulence. A step forward from my last EP ‘EMO SZN’, ‘To: The Moon’ finds itself a more energetic place in my catalog.”
And he’s not wrong. The energy is on another level. Get your first listen to the Embers EP in its entirety below.
Recording the EP has been an amazing journey. On my first EP, I was going through such a hard time, and it reflects in the music. I’m so proud of the lyrical content and how therapeutic performing those songs is for me and my fans, from what I’ve been told. This second EP takes the basis of the sound of the first EP, but bumps up the energy x 100. The guitars are bigger and the lyrics are less desperate and stronger to match. I can’t wait for people to hear the new music live.
Alt-rock outfit We The Kings – yes, THAT We The Kings – recently signed to Graveboy Records. The momentous partnership is marked with the release of their latest work, a single titled “Alien.” The song begins with a melancholic feel, rectified by a quintessential upbeat, fast-paced chorus. “We’re all just a bunch of kids who feel like aliens searching for the answer to the question – ‘does anybody else feel like I do,’” shares lead singer Travis Clark.
One part anthem and one part inquiry, “Alien” seeks the match to our souls, any minor detail to connect us to others. It asks everyone who feels “other” to be proud. The song itself seeks similarities in the irregularities and differences. Combine this journey with relatable lyrics and a catchy tune, and this release is poised for charting success.
“Every few albums or so I get a strong feeling about a song,” says Clark. “It’s hard to explain, but the last 2 times I felt this way were with ‘Check Yes Juliet’ and ‘Sad Song’. I have that same feeling about “Alien” so only time will tell what that means!”
To round out the month of September – and to unofficially prepare the city for BEY DAY (October 1) – Bishop Briggs and MisterWives brought The Don’t Look Down Tour to Grinder’s in The Crossroads. On a beautiful evening, against the backdrop of a watercolor sunset, Bishop Briggs brought her quintessential high-octane energy to the stage.
With added block visuals and sharp, dominating lighting, her moody vocals swayed the audience into a fiery mood. She rounded out the 16-song set with the notorious hit “River” before whispering a humbled (and cute) “Thank you” to the audience. As she breathed heavily through her bows, her beaming smile could not be contained.
Photo highlights below.
Setlist Art of Survival Wild Horses Cherry on Top MY SHINE Baby JEKYLL & HIDE Baggage High Water TATTOOED ON MY HEART / superhuman Reborn Hallowed Ground White Flag / Hi Lo (Hollow) Take Me to Church (Hozier cover) Bad Revolution River
On the Eve of BeyDay in Kansas City, MisterWives and Bishop Briggs brought the girl power to one of the most iconic stages in the city with The Don’t Look Down Tour. Tucked away into The Crossroads District sits Grinders KC, a mulch-floored, sunset ceiling-ed venue that is perfect this time of year. Misterwives headlined, regaling the crowd with some of our nostalgic favorites peppered in among their latest, admittedly more introspective, releases. Their stage performance of “SUPERBLOOM” was the most magical moment of the show for me, as we all gazed up in appreciation at an almost-full moon over the stage.
MisterWives’ music reminds us to get in touch with who we really are. Vocalist Mandy Lee endlessly captivates with her ethereal vocals and enigmatic energy. The chemistry between Etienne Bowler (drums), William Hehir (bass), Mike Murphy (sax/keys), and Marc Campbell (guitar) is really fun to watch, as they dance around each other and stay in communication throughout the show.
The band has been through some growing pains in recent years, effectively losing their keyboardist Jesse Blum, experiencing relationship woes between band members, and label drama. But that hasn’t stopped them yet, and those facts show no signs of slowing them down. MisterWives – now more than ever – present as a force to be reckoned with. I can’t wait to watch their magic continue to expand minds for many years to come.
Setlist Out of Your Mind Dagger Where Do We Go From Here? / rock bottom All the Same Why Why Why Sideways Trip Around The Sun Silver Lining Trigger Pull Too Late Ultraviolet SUPERBLOOM Our Own House Reflections Other Side End of My Rope Nosebleeds
If you happened to leave the show without a smile on your face, I can only assume you are battling some horrendously painful ailment at the moment, and for that, I give you space.
Emo children of the aughts rejoice, because one of our favorite live bands is making the rounds again, and they’re bigger than ever before. Pop-punk bad boys Yellowcard delivered a kiss of surf pop, a hint of nostalgia, and a whole lot of energy every time they took the stage. So when I had the opportunity to interview Ryan Key, Yellowcard’s lead singer, Star Wars aficionado, podcast host, and content creator extraordinaire – I snapped it up.
One of the first things I say, after promising myself not to bring it up? “I spoke to you in 2006 and it was to ask you to sign a t-shirt for my friend and I was too nervous to say anything else.” Cool. Word vomit.
“Oh, I was such a little shit in 2006 too,” Key immediately admitted, laughing. “So, it should be a way better encounter this time, I promise.”
Key’s self-awareness eased us into a conversation that ran the gamut. From our shared love of Star Wars (Though I haven’t quite expanded into podcast territory yet), being driven by bitterness through some tough times, how it feels coming off the biggest tour Yellowcard has ever experienced, and reflecting on 20 years of Ocean Avenue.
Yellowcard’s rapid-fire return fueled a “Celebrating 20 Years of Ocean Avenue” tour that took on bigger venues than they’ve ever played. The band’s welcome back was far from polite, with screaming fans more dedicated to the art form, acceptance of the music, and enjoyment during shows to fuel the energy.
From theatrical beginnings…
Admittedly, Ryan didn’t do much with music growing up. He took piano lessons for a couple of months, hated it, and quit. He wasn’t much for musicals, either. He was much more attached to the idea of the theater. An idea – it seems – that may have stemmed from his first role as Tiny Tim in none other than A Christmas Carol.
“It’s two lines,” Key admits, laughing. “But being on stage at 6 years old in front of enough people, I can only imagine shaped me, changed me forever. Having that moment happen on your impressionable little 1st-grade mind. It’s like, yeah I want more of this. You get that dopamine hit of being on stage and the adrenaline of that, you want more of that. And you don’t know why but I think as a kid, after that, I was just dead set on being on stage however I could.”
In 10th grade, Key was accepted to Douglas Anderson School of the Arts in Jacksonville and his pursuit of acting and theater got really serious. He was super involved at school in the shows and the deep, specific education. “We were studying Stanslovsky and real heavy stuff for high school kids,” Key says.
…to stress-reducing hobbies.
To help blow off steam in his -very limited – free time? “I had a band on the weekends,” he explains. “I got my first guitar when I was 11 or 12 years old and I played it and I wrote really crappy songs and had some friends that I played with but that was never gonna be something that I did professionally. I never even had it in my mind. I didn’t really enjoy singing, to be honest, very much. It’s still not my favorite part of my job. I was the lead singer of the band but I think that comes from that sense of wanting to be an entertainer, wanting to be a performer.”
This fact can be hard to believe, as Key’s vocal range is impressive and wide-ranging in its pop-punk glory. And his life performance tactics? Energetic to this day, at a level most people aren’t entirely capable of even at their peak. “It was never in my mind as something I wanted to pursue as a career,” he shrugs. “I just didn’t get into college where I wanted to go.”
When one door closes…
Ryan never let his rejection to the Theater Program at Boston University – twice, unfortunately – go. “I got into school in Boston but I didn’t get into their BFA program. My parents were like, ‘We’re not going to spend all that money for you to go to a private school in Boston if you’re not in the program that you want to be in.'”
While reasonable, it can be difficult to recover from something like that so early on in one’s career. From that bitterness was born a focus. Admittedly – and fairly – Ryan was spiteful about what had happened and chose not to complete the BFA program he started in Florida. He dropped out of school, leaned hard into music, and eventually began singing in Yellowcard.
To hear an artist admit to leaning into something in that anger is very refreshing. You often hear about heartache and heartbreak in everyone’s work, but it can be difficult to address the times of anger and instances when you feel things didn’t go the way they perhaps should have. Having a creative outlet to pour himself into was clearly the way to go, and is something so many of us should embrace as a healing mechanism in times of trouble.
Celebrating 20 Years of Ocean Avenue
Ryan says the band really appreciates the fact that the fans have weathered the storms alongside them. He credits this grand musical journey to the fact that fans have been patient and forgiving.
I have, personally, been a fan of Yellowcard’s since I was an adolescent, so getting a peek into their tour dynamic was ideal. When asked about the “Celebrating 20 Years of Ocean Avenue” tour, Key was almost gushing. “I feel like my favorite part of the tour was the energy between the band itself. I don’t think we’ve ever gone on a tour that was so lacking in negativity as this one. This tour was so full of happiness and positivity that it felt like an alien world, almost, compared to the Yellowcard that I’ve known for the past 20+ years.”
What Key refers to – this feeling of a more in-sync crew and better touring environment and experience – has been echoed by artists the world over since the pandemic triggered larger conversations around mental health and balance in the music industry. Tours are being approached in a more holistic manner, and it’s been a reinvigorating time in the music industry. He went on:
I think we all felt that way. Which compounded each other aspect of the tour. The shows and interaction with fans, on-stage and off, and the support I think that we had from our crew every day felt stronger and better. I think that’s because there was a sense of peace and calm on the road.
We’ve never had that. Yellowcard has historically been a bit of a chaotic and tumultuous bag of personalities that have not created the best environment to work in. So this was, you know, jarring in the best possible way, to get out there and get a couple weeks in and realize, Oh, everything is just OK. And we can just let that be.
Pausing to reflect
It was almost spiritual, the way that he described it. Key’s acute awareness of the dynamic of the band made me wonder, aloud, how long it took in his career to come to this acceptance of who he is and his identity in the band.
I think it started, for me personally, during the final chapter of it all, at the end. You know, in 2016, 2017. Realizing that I was going to lose it forever because, at the time, it truly felt like that was going to be the case. It started with, I think, just a simple idea of really wanting to enjoy that tour in 2016 and 2017 and the international stuff we did.
That whole experience, as much as I tried, was sort of tinged with the reasons we were stepping away from it. The metrics that you use to quantify success, right, started to say “This is on the way down. We’re on the backslide.” Let’s end this before it goes too far so we can end it on our own terms and make it something special for fans and for ourselves.
It went a lot deeper than that because it did go into the personalities and the inner workings of the band and things that we keep pretty close to the chest. So, as much as I tried to really enjoy it all, there was still an air of sadness and kind of negativity that had carried into that from all of the reasons we decided to step away in the first place.
It wasn’t until I got home and started to have to figure out how to make my own way [that the self-awareness set in.] And the pandemic, really, was huge. A good friend of mine from high school was stopping through to stay with me. I had moved back to Los Angeles – which didn’t work out because the pandemic hit and we couldn’t tour or work so I was only there for about 6 or 8 months and then I left to come back east – but I had gone out there to kind of re-establish myself there and start working on film and tv music and things I want to do, too, as I get older.
My friend stopped through and it was only going to be for a week but it was the week that the lockdown happened in California. So he ended up staying with me for an entire month. During that time, he sort of opened my mind to meditating and starting to truly figure out what was going on with myself and work on the reasons why I had ended up where I was. I had never taken a minute to look that far inward, I don’t think. So it really wasn’t until 2020 that I started to kind of forge the path that has led me back here, now, where I am.
As if to echo this spiritual, self-reflective sentiment, he notably wrapped the tour wielding a lightsaber, a symbol that the force is strong. While he claims that he brought the saber to make his nephew happy, we know there were probably additional motives here. (Because, really, who doesn’t want to have a lightsaber on tour with them?) For those of you wondering, yes, he does have a lightsaber lying around. In fact, he has multiple.
Embracing creative outlets
Besides his lifetime love of the franchise, Key has had the opportunity to connect with the franchise on a different level since the pandemic. “I’ve been really lucky the last 3 or 4 years to intensify my connection with Star Wars through hosting the Thank The Maker podcast with my friends,” he almost gushes. “I think Star Wars reminds you, at 43 years old, if you just give in and let yourself love it the way that I do, it reminds you how to play. That’s something that adults just don’t do.”
At this point, Key doesn’t realize he has hit a home run and we dive into a conversation about what being a “Disney adult” means in certain circles and some of the symbolism involved in Star Wars. We agreed that a certain level of play is encouraged to truly live a full life, especially as we age. “I’m a big fan of my wife for allowing me to just embrace that side, that childhood side of me, and letting me dress up in costumes with my friends and swing lightsabers around, you know?” he says, almost in amazement. “It’s really been a beneficial thing.”
As for if anything has changed for the band over the years – aside from the deep, self-realizations and occasional weaponry – Ryan says writing with everyone has become much more simplified. Explaining that the technology just wasn’t there to support quick changes to tracks and production fixes when they recorded their first albums, Key said the process now is just so much more accessible. “We can get right into ProTools, create the demo, program the drums so that we can change those around – we can try all the different options.”
The great part about having home studios is being able to control the sound as you build it. This way, you have more of an actualized recording that more than likely will sound much more similar to the final product. “It’s way more inspiring to have a good-sounding, ripping demo to steer the direction of the melody and the lyric that I’m going to put over the music.”
But the way Yellowcard writes? Pretty much the same. And super focused on the instrumentals. “It’ll start with usually a guitar riff. Shawn also has brought plenty of ideas on the violin or ideas for the structure of a whole song. He’ll have like a motif or a chord progression he will bring in that we will then build riffs and things around that.”
But you have to remember, Ryan is one with The Force. “I get middle-of-the-night ideas sometimes. I’ll wake up or I’ll not be able to sleep, one or the other. And it’ll just happen and I’ll take out my notes app on my phone and start plugging stuff in.
The title track from their latest release, “Childhood Eyes,” actually came to be that way. “I woke up with that chorus melody in my head and I started to put words to it. I could hear it happening in my head. And when I got to Austin for pre-production, I had an idea for the verse and the chorus in my notepad but I had never picked up a guitar to put music to it. So I just said, ‘Hey I have these lyrics and I have sort of a cadence and a rhythm for them.’ And we wrote the whole song in 15 minutes.”
In the coming weeks, Key will be working from his new home studio. When asked about his plans for the space, he perks up immediately. “I’m doing the whole room black,” he says. “Ceiling, walls, floor. A lot of wood grain and a lot of green pops in the room. The vibe is super Scandinavian, and I love that. I’m a big fan of Iceland, Sweden and Denmark. I love that part of the world so much. So we have a lot of this [look] in our house.”
Even more than the initial planning and execution of the project, this room will hold so much more meaning for Ryan as an artist, as he explores new podcast-related projects, and films content, pursues long-term goals (like music supervision and composition), and writes new Yellowcard songs for us to enjoy. It will also hold space for Ryan as a new father, viewing movies and creating art in this space with his family.
You mentioned we met in 2006. I wouldn’t want to meet me in 2006, you know? It’s just not even comparable, the headspace I’m in now and the tools that I have now to kind of prove my reactivity and try to stay positive. Things I was just incapable of doing for the better part of my career in Yellowcard until now. So, in the end, stepping away from the band and having that time was probably the best possible thing that could happen to me, personally. Because the perspective that I’ve come back to the band with is just so wildly different than it’s ever been before.
Yellowcard has, once again, taken a front seat in Ryan’s life. Check out an upcoming performance near you throughout 2024.
Tuesday night was one for the ages at Starlight Theater in Kansas City, MO. In an unexpectedly beautiful way, 3 Doors Down helped us celebrate the end of summer with a full rendition of their 2003 debut album The Better Life, as well as other favorites. 20 years of pure joy filled the outdoor venue, coupled with stunning light design and a refreshing breeze that made everything feel like an actual dream.