GIRLS ROCK!!! The 10 Best Female-Fronted (or all girl) bands ever.

10. The Donnas

Originally a bratty girl-punk band with a Ramones-indebted image (All the girls initially went by the moniker "Donna"), over the course of about a decade together, the Donnas have become a bad-ass cock-rock band without cocks. Their music often flips rock and roll cliches on their heads simply because of the female perspective. Singer Brett Anderson has more balls than most men in the current rock scene, and she's not afraid to get bitchy with horndogs at gigs, or their jealous girlfriends.


9. The Distillers

Although they split up after only three albums, The Distillers, led by Aussie bombshell Brodie Dalle made a huge splash with a grittier take on the early 00's pop-punk explosion. While the boys in bands like New Found Glory, the Ataris and The Starting Line were busy singing about high-school crushes, Dalle and CO penned barn-burners like "City Of Angels" a snarling screed about the dirty underbelly of Los Angeles. The band turned toward a more alt-rock sound on their final album "Coral Fang", earning the band a number of comparisons to popular 90's girl-grunge band Hole.
Dalle currently fronts sleaze-rock band/de-facto solo project, Spinerette.

8. Tsunami Bomb

While they might not be a household name, Tsunami Bomb paved the way for female-fronted punk bands like the Distillers and Tat. The band broke up in 2005, and saw a lot of line-up changes. What never changed was the groups penchant for machine gun drumming and frantic guitars, with firebrand vocals courtesy of long-running vocalist Emily Whitehurst.

7. No Doubt

Survivors of the Orange County Ska scene, No Doubt outlasted their peers with a flair for pop-hooks and an overriding new-wave influence that was more their speed anyway. The band went on hiatus in late 2004, as front-woman Gwen Stefani focused on her solo album and starting a family with (former?)Bush vocalist, Gavin Rossdale. The band played a string of tour dates with Paramore in 2009, and has been hard at work on a new album since May of 2010, the new album is expected sometime late this year or early 2011.

6. The Dresden Dolls


The Dresden Dolls caused a great stir in the indie scene when they debuted in 2001 with a decidedly theatrical and raucous sound the group called "cabaret punk". Made up of vocalist/pianist Amanda Palmer and drummer/multi-instrumentalist Brian Viglione, the group developed a reputation for smart, bawdy lyrics, gender bending and menacing, yet celebratory, live performances. The band flirted with mainstream success on their second album, Yes Virginia, released in 2006. They toured with much-maligned emo-dance-cabaret pretty boys, Panic! at The Disco, earning some backlash from small minded idiots who couldn't see how perfect the bands fit with each other.
The band went on hiatus in 2008, and Palmer released a solo album "Who Killed Amanda Palmer". A reunion tour was announced in September of 2010, but the future of the band is still uncertain.

5. Ladytron


Ladytron debuted at the dawn of the 21st century with an appropriately retro-futuristic, slightly creepy sound. The combination of sci-fi synths, dance beats and eerie female vocals courtesy of two sirens: Helen Marnie and Mira Aroyo was exactly the kind of thing the world of electronic music needed. The band became ragingly popular in England and Europe, but their climb in the states has been considerably slower. The band has toured with Bjork, Nine Inch Nails and Goldfrapp and produced remixes for dozens of popular UK and ¨US artists. The band is currently recording their fifth studio album.

4. Hole

You might not know it to look at her now, but Courtney Love was once grunge's great white hope. Kurt Cobain might have been the poster child for grimy rock with an undeniable pop sensibility, but after his 1994 suicide, Hole was expected to rise to the occasion and fill the shoes of the biggest band in the world.
Love seemed poised to accept the crown when Hole released, "Live through This" it's major label debut, in 1994, months after Cobain's death. Love was a sexy, opinionated rock goddess with a bitchin' back-up band. However, internal issuses and the death of Hole's original bassist nearly derailed the band. By the time they released "Celebrity Skin" ,in 1997, Love was beginning to gain credibility as an actress but Hole was hanging on by a thread. The band broke up in 1999, and Love's professional and personal life went to hell.
Love reformed the band in 2010, but with none of it's original members (save herself). She has been through a maelstrom of bad press, drug relapses and professional disputes, though in recent months she seems to have shaped up a bit. Courtney Love has fallen pretty far, but part of me hopes some of her old genius remains.

3. Garbage

Garbage was inescapable on modern rock stations in the late 90s. The band, made up of mega producers Butch Vig, Duke Erikson and Steve Marker and scottish sex-bomb Shirley Manson took grunge to it's logical pop extreme. The music was a mish-mash of pop, punk, alternative, noise, hip hop and electronica that many bands without Garbage's talent would fail miserably at. The band rode it's self-titled debut and it's follow up, "Version 2.0" to mainstream success even as rock began to get out-shined by pop and rap music. Unfortunately, the band saw a huge drop in it's popularity in the new millennium, thanks to the tepid response to "Beautiful Garbage" the band's third album. After 2005's "Bleed Like Me" the band had seemingly run out of gas, despite that album's focus on a leaner production and a more "authentic" sound that was intended to win back some fans who were turned off by the last album's overly glossy finish. The band went on hiatus in 2006 and Manson focused on a solo album that never materialized. Just a few months ago the band announced it was reuniting with a brand new album in the works. This might actually be the ideal time for a garbage comeback, since their brand of edgy electro-alterna-pop would fit in nicely with what's happening in popular rock right now.

2. Siouxsie and the Banshees


I almost went with Blondie for number 2, but the Banshees have had a much further-reaching influence. The band burst out of the British punk scene around the same time as the Sex Pistols. But Siouxsie and the guys were of a different kind than those infamous, foul-mouthed, rabble rousers. There was something darker and sexier about them, and they soon broke away from the punk scene to plant the seeds of goth and post-punk. Even with shifting lineups, the band came to define the goth sound in the early eighties, inspiring the likes of Sisters of Mercy and The Cure. Even after their heyday the band continued to inspire groups like Portishead and Massive Attack as well as pop-rock groups like Garbage. Even today, Siouxsie and the Banshee's influence can be heard in the music of bands like The Birthday Massacre, Yeah Yeah Yeahs, The Horrors and pretty much every other run-of-the-mill goth band not terribly interested in vinyl pants and florescent fake dreadlocks.



1. Joan Jett and the Blackhearts


Although the Runaways had more punk cred, Joan Jett's second band was a far more polished and confident sounding rock band. Hits like "Bad Reputation" and "I Love Rock and Roll" are so popular, your grandma probably knows the words. A rotating cast of musicians has backed Joan Jett since the band's inception, but her throaty, sassy vocal style has been a mainstay. Not to mention she's always had an ear for really catchy lyrics. These days Jett still tours and records music both as a solo artist and with the current incarnation of the Blackhearts. She is a breast cancer survivor and thanks to a life free of drugs and hard living, she looks better than some musicians half her age. A stint on the warped tour in 2005 showed she could still command a crowd and introduced a generation of pop punk fangirls to the real deal.
Jett was a trailblazer for women in music (not to discount the contributions of the other Runaways), without her, most of the bands on this list would not be here today.

Jimmy Eat Kubrick?

Okay, so this is the video for Jimmy Eat World's new single, "My Best Theory" it's super weird, and a nice departure from the band's typically straightforward videos.

MCR's new single!!! Brought to you by attentiondrain

MCR Na na na by attentiondrain

The 20 Coolest Music Videos Ever Made

Music Videos are one of my favorite things to watch. They are in some ways the most pointless concept ever. I mean, a miniature movie set to music is really just an advertisement for the song. But sometimes a great video is more like a short film. A work of art that perfectly compliments it's auditory accompaniment.
Anyway, here are 20 videos I consider the best ever made.

20. Madonna- "Material Girl"

Madonna was aiming high with this early career video. The concept is simple, Madonna recreating the "Diamonds are a Girl's Best Friend" scene from "Gentlemen Prefer Blondes", with herself in Marylin Monroe's role. The video seemed to be announcing Madonna's coronation as a sex symbol for a new generation.



19. Placebo- "The Bitter End"

Placebo are not as well known stateside as they deserve to be, but Europe has embraced them whole-heatedly, and this video is a good indication why. Though it isn't their absolute best song, it features the band at it's goth-glammy best, with a desaturated blue-ish color palette. Oh yeah, and they play in the middle of a fucking giant Russian satellite dish . Beat that, Axl Rose.
(I apologize this is only a link to the video.)



18. Pearl Jam- "Do The Evolution"

I'm not a huge fan of Pearl Jam's music, but this animated video by Todd MacFarlane is genius. Not only did it express the band's political views with a withering nihilistic "plot", it also gave the notoriously un-video-friendly band a Grammy nominated video. The video is full of references to global politics and history, but it also seems a lot like a nod to the stoner/nerd animation classic "Heavy Metal."



17. Nirvana- "Heart Shaped Box"

What? You thought I was gonna put "Smells Like Teen Spirit" here? That video's actually pretty lame. The video for this single from the band's masterful "In Uetro" album is far weirder and far more visually arresting. The video is cheap-looking and garish, which in some ways reflected Nirvana (and Cobain's) frustration with their "grunge" tag. Nirvana always considered themselves a punk band. The combination of Kurt's psychotic grimacing and dali-esque imagery makes the video extremely unnerving, especially viewed in the light of Cobain's tragic death.



16. Beck- "Loser"

The world was introduced to Beck with this charmingly bizarre low-budget video, which perfectly complemented the song's stream-of-consciousness lyrics and white-boy hip hop meets hippie folk-rock vibe.



15. Echo and the Bunnymen- "The Killing Moon"

Echo and the Bunnymen were one of many 80's bands to experiment with music videos, but this particular video is haunting in it's abstract simplicity. Somehow the melancholy and subtle menace of the song all come across in the visuals



14. Muse- "Time is Running Out"

An extended Dr. Strangelove nod plus dancing fascists? Did Lady Gaga put you up to this? Ah well, it's nevertheless a great showcase for Muse's slightly tongue-in-cheek conspiracy-obsessed, gothy prog-pop.




13. Weezer- "Undone"

This is the video that introduced me to visionary director Spike Jonze, who went on to direct many brilliant msuic videos as well as movies. Shot in one continuous take, this simple performance video captures blue-album-era Weezer's geeky appeal. Rivers Cuomo had yet to don his now signature spectacles, but the band act quirky and spastic and a bunch of dogs randomly run through the set at one point. It makes no sense at all, but you can't stop watching it.



12. Garbage- "Only Happy When it Rains"

This one was directed by another video aueter, the legendary Sam Bayer. I think he and Spike Jonze more or less created the 90's music video aesthetic. But where Jonze favored abstract minimalism, Bayer was a purveyor of grungy, candy-colored visual pop. One of his best videos is this clip for Garbage's "Only Happy When it Rains" which features his signatures: wrack focus effects, saturated color palette and extreme closeups. And Shirley Manson is wicked sexy in this vid, too.



11. Ladytron "Destroy Everything You Touch"

Ladytron are only marginally popular in the states, but like Placebo, have a huge international following. They also share Placebo's love of cinematic, sci-fi leaning videos. They have plenty of excellent videos, but this one took people by surprise by featuring a miniature Japanese landscape covered in snow, with the band members portraying a band of travelers beset by vengeful mountain spirits (also portrayed by the band).



10. The Smashing Pumpkins- "Zero"

For this video the pumpkins successfully drove a wedge between themselves and the grunge scene. The band had always had a goth/glam leaning, but this video (and it's counterpart "Bullet with Butterfly Wings") revealed them as entirely new creatures.



9. Johnny Cash- "Hurt".

Comprised of archive footage of the Man in Black throughout his life and footage shot just months prior to his death, this video pushes Cash's already poignant and haunting interpretation of the Nine Inch Nails ballad over the top and creates a stunning and startling reflection on a man who had lived several lifetimes in his 71 years.



8. Green Day- "Holiday"
I could have chosen "Wake Me Up When September Ends" But I actually felt it was a bit too overtly political without the tongue-in-cheek apocalyptic glee of "Holiday". The video features Green Day experiencing a little fear and loathing in Las Vegas, playing dress up (with Tre Cool in drag) and generally having a good time, while subtly underling the song's anti-war sentiment. Also, Billie Joe punches himself out at 2:25. Awesome.



7. AFI- "The Leaving Song Part 2"

AFI unleashed a pop-punk classic with "Sing the Sorrow". The album was wildly successful, and AFI's vids got heavy rotation on MTV and MTV2. This clip was particularly popular. It features "hardcore" dancing, slow-motion stage jumps and AFI as the most bad ass black tie entertainment ever.



6. AFI - "Love Like Winter"

AFI's follow up to "Sing the Sorrow" was the divisive yet ambitious "Decemberunderground", which featured this eerie, beautiful piece of icy goth-pop. The video appropriately features a lot of ice and snow and, of course, a wicked winter siren.



5. Smashing Pumpkins- "Bullet With Butterfly Wings"

The Pumpkins came out of the gate strong with this lead single, and it's accompanying video heralds the band's rebirth as the kings (and queen) of 90's rock weirdness.



4. My Chemical Romance- "Helena"

MCR became TRL darlings with this alternately sad/spooky/funny video, and it perfectly captured the band's candy-coated goth punk image. So much so the band continued to wear their Helena costumes (with slight modifications) for the rest of the tour behind their second album, "Three Cheers for Sweet Revenge"



3. REM- "Losing My Religion"

This is one weird video, yet it somehow illustrates the complex emotionality of Michael Stipe's often inscrutable lyrics. Director Tarsem would go on to create the visually stunning, yet commercially dismal film "The Cell".



2. My Chemical Romance- "The Ghost of You"

My Chem surprised anyone expecting another funeral-themed video with this artful, beautifully shot, beautifully acted mini WWII movie. It showed that the band was capable of creating a wide range of imagery around it's music, and also showcased a cinematic ambition that was fully realized in the creation of their epic third album, "The Black Parade" (In which the videos were good, but not quite this good.)



1. Nine Inch Nails- Closer

Controversial and shocking. Banned by MTV. And one of the greatest visual interpretations of a song I have seen to date. Pre-dating "Saw" by more than a decade, this video showcased a distinct "torture porn" aesthetic. Much like the majority of "The Downward Spiral" album, "Closer" is a grinding piece of death-funk that seems to decay before the listeners ears. Likewise the video seems both futuristic and decrepit, with hand-cranked shots, washed out colors and images that seem to erode the film they're captured on. The video is a perfect collision of sex, violence and religion that always ruffles feathers but makes for an unforgettable piece of work.

Needless to say, this clip is not suitable for all ages.

The Black Keys Find their Inner Children..

10 Bands From the Nu-Metal/Post-Grunge Era That Didn't Suck.

The late 90's and early 00's were a dark time for modern rock. The Strokes were still a few years away from ushering shaggy haircuts, skinny ties and tight pants back into style. Alternative rock became a haven for dudes in footbal jersey yelling things over muddy, thudding guitar riffs.
However, things weren't all bad. As with any musical trend, a few good acts do emerge from the crud. So, here's a list of 10 bands who came to prominence during the nu-metal era who actually didn't suck. I'm also including a little update about the current status of these bands.

10. Orgy

Orgy earned their nu-metal tag by touring with bands like Korn. However, they really had more in common with Nine Inch Nails and Marylin Manson. Their debut album "Candyass" had plenty of crunchy riffs with vocals that were more groaned and shouted than sung. But Orgy had a distinct pop sensibility that would come out in their far superior second album "Vapor Transmission". For a while it seemed Orgy was going to take over the world. But the bubble burst when they released their third album "Punk Statick Paranoia". Feeling pressure to compete with the multi-platinum success of bands like Limp Bizkit and Kid Rock, Orgy tooled around with rapped vocals and other nu-metal trappings. It wasn't a good fit for the band, and they subsequently went on a seemingly permanent hiatus.

Where are they now?:
Guitarists Ryan Shuck and Amir Dekah formed Julien-K, who released their debut album, "Death to Analog" in 2009. It's more or less a continuation of Orgy's "death-pop" sound, but with even more emphasis on electronics and pop hooks. Singer Jay Gordon has been largely absent from the music world, although he briefly surfaced to perform Orgy's cover of "Blue Monday" with Shuck and Dekah at a Julien-K show. There have been rumblings about a reunion of the band, but nothing has been announced.

9. A Perfect Circle

Formed in 1999 by guitarist Billy Howerdel and Tool vocalist Maynard James Keenan, APC was a more melodic and dynamic alternative to the sometimes dirge-like sound of Tool. The band's debut "Mer De Noms" was highly praised and sold like hotcakes. Unfortunately, several member shakeups and Maynard's much-talked-about distaste for fame and recognition may have held the band back from the powerhouse they could have been. The band went on hiatus in 2004.

Where are they now?:
A new album is in the works as we speak. Tool has been on a long hiatus and Keenan's Puscifer project seems to be on the back burner, so another great album may be coming soon.

8. Papa Roach

Papa Roach pulled off something very few bands ever succeed at: A stylistic 180. In 2000 Papa Roach debuted as rap-metal thugs with a pop sensibility. They began to pull away from their parent genre on "loveHateTragedy", their second album, but it wasn't until 2003's "Getting Away With Murder" that the band truly transformed. Adopting the look of the burgeoning goth-pop-punk scene, Papa Roach was reborn as a pop-metal band.

Where are they now?
The band is still making albums and touring. They've retained their popularity despite their dramatic makeover. And their music continues to be catchy and FUN, which is almost never something you'd associate with nu-metal bands.

7. Korn


Korn more or less invented nu-metal. And in their early years, they were one of the more innovative and strange groups in the genre. Much of their strangeness came from frontman Jonathan Davis, who while not really a great singer, was able to do some bizarre things with his voice that made his singing instantly recognizable. The band enjoyed commercial success for many years, but eventually, changing tastes pushed them out of favor and an increasingly dangerous amount of drug consumption nearly destroyed the band.

Where are they now?
Still making music for some reason, despite dismal sales and the loss of bassist Brian "Head" Welsh to Christianity.

6. Powerman 5000

PM5K was one of the earliest nu-metal bands and one of several influenced by industrial rock. Helmed by Spider One, also known as Rob Zombie's little brother, Powerman 5000 made big, dumb electro-metal that was always more silly than sinister. This wasn't a problem for the band, who never took themselves very seriously, as evidenced by their space-suit costumes and goofy B-movie inspired videos. The band's popularity waned, and they eventually dialed back the electronics in favor of a more radio-rock sound. Sadly, rock radio had moved on.

Where are they now?
The band is still making new music and touring. They've gone back to their electro-rock roots and seem due for a comeback.

5. Rob Zombie

Rob Zombie had been pretty famous for a while when nu-metal first reared it's head. His band, White Zombie is often sited as one of the founding fathers of the genre. Still, when Zombie struck out on his own in 1998 With "Hellbilly Deluxe", few could have predicted the blockbuster success it would become. Rob Zombie became the music of choice for angry jocks and alienated goth-metal kids alike. With a mix of southern rock swagger, industrial beats and pure, concentrated evil, Zombie was everywhere for a while.

Where is he now?
Zombie has had a fairly successful foray into film-making with "House of 1,000 Corpses" and "The Devils Rejects". Less successful? His recent albums. Still, there are many devoted fans awaiting his next release, and many new fans awaiting his next film.

4. System of a Down

SOAD never really fit in with the nu-metal scene. They had far more progressive structures, they were political, they were Armenian. Nevertheless, they were embraced by nu-metal mooks with open arms, and sales of their landmark album "ToxiCity" pushed them into rock-stardom and allowed them to do whatever they wanted. The band matured and grew into a truly unique act that transcended it's origins as mosh-pit fodder. Fusing elements of Goth, Punk, Thrash, Prog and traditional Armenian music the band created a sound that has yet to be duplicated.


Where are they now?
After releasing the critically lauded double album "Mesmerize/Hypnotize" in 2006, the band went on indefinite hiatus. Singer Serge Tankian released a solo album in 2007.

3. Marilyn Manson


Although technically a forerunner to nu-metal, Manson CD's were prominently featured in most mooks' collections. A protege of NIN's Trent Reznor, Manson became a huge success with a shocking image and songs that sounded like they were written by Satan's scrawny kid brother. His landmark album, "Antichrist Superstar" is a bona-fide post-grunge classic.


Where is he now?
Manson continues to release albums, most of which perform reasonably well. However, these days he has become a caricature of himself, and his increasingly desperate attempts at remaining relevant have been embarrassing. Fans still hold out hope for another "Superstar", but I wouldn't hold my breath.

2. Rage Against The Machine

Another forerunner of rap-metal, Rage was one of the few groups to truly pull off the combination. It helped that frontman Zach De la Rocha was a gifted wordsmith and a talented MC. Also helpful was guitarist Tom Morello, who's inimitable guitar work provided Rage Against the Machine with a slew of memorably off-kilter guitar riffs. The band released hit album after hit album, gaining a huge following and making boatloads of cash, all while railing against capitalism and corporations. Their politics may have been questionable, but none doubted their ability to ROCK!


Where are they now?
The band reformed to play a protest show during the Republican National Convention in 2007 after a 7 year hiatus. However, no plans have been made for a new album or tour. Morello and De La Rochaha both have side projects putting out material.

1. Deftones

If there is a more artistically credible and long-lived band to emerge from the nu-metal movement than the Deftones, I've never heard of them. The band struck a chord with Chino Moreno's strange lyrics and dreamy singing, which stood in stark contrast to the heavy yet melodic music created by the band. The band survived the nu-metal scene and quickly found acceptance among punk and metalcore bands and fans alike. "White Pony", the band's third album is still seen as one of the most artful and innovative albums of the 00 decade.

Where are they now?
Bassist Chi-Cheng was injured in a car accident in 2007, that has left him in a minimally conscious state for the last 3 years, with possible permanent damage to his brain. The band has continued on without him, recently releasing "Diamond Eyes", which I highly recommend picking up a copy of. Seriosuly, get on iTunes right now.

When the Legends Die: Speakeasy Tiger

Today, I want to talk to you about my all-time Favorite band from Colorado, Speakeasy Tiger. The band rose to prominence in the local scene about a year ago, and quickly gained a massive following with their energetic, dance-able pop-rock. Most praised was the emotive and unique voice of Kyle Simmons, the groups original vocalist. However, the band also had the appeal of Pete Schmidt's keytar and it's retro-modern synth lines, Lucas Gordon's tight, dance-able beats, Tavis Alley's dynamic guitar playing and Lauren Gale's aggressive bass thump.
This group of 20-something musicians became bona-fide local legends. They played Monolith festival, they were critically lauded by Westword, our local culture and news magazine, which often can make or break new acts around Denver.

But disaster struck the band earlier this year when Simmons exited the band at the height of their ascension, and right before a crucial stint on the 2010 Warped Tour. Both sides tell a slightly different story, but the heart of the matter is that Speakeasy Tiger was no longer a band Kyle Simmons wanted to be a part of. Nasty things have been said by former fans and die-hards alike, but for the most part, the band and Simmons seem to be on amicable, if not friendly, terms.

Kyle was replaced by singer Katrina Stone, who filled the lead vocal slot for the band on it's Warped Tour dates. The band was in the middle of recording new demos when Stone and Schmidt abruptly left the band. This came as a shock to many fans (myslef included) and the band has made no decisions as far as how they will go forward.

I'm very depressed by all this, because Speakeasy was a shining beacon for Denver as a scene that produced music with style AND substance. Speakeasy Tiger was more lively and exciting than the Fray, and deeper and smarter than 3Oh!3. They might have been the band to really put this cow-town on the map. Now, I'm not sure. Sometimes you capture lightning in a bottle and if it escapes, your best option is to let it go and move on to trying to catch different lightning in a different bottle. If Speakeasy Tiger continues, I hope it will live up to it's promising debut, but it's possible that without all of the elements that made it great, the band will eventually fade out.
That makes me very sad to write, because I really wanted to see these guys (and girls) succeed.
Nevertheless, what they accomplished in such a short time is incredible and a testament to the skill and appeal of everyone involved. I'm looking forward to Kyle Simmon's new group, Boys, and seeing what the other ex-members of the group do on their own. I also hope that Lauren, Tavis and Lucas will land on their feet with a new, even better Speakeasy Tiger or a completely new band that will be even bigger.

No matter what happens, this band has made a huge impact on me and many other people in Colorado and the rest of the world. And no one can ever take that from them.

Go check out their music now!

I'm Back Baby!

So after a long hiatus, I've decided to revive Skullcast for the five people actually reading it.

So let's get right to it shall we?

Today I want to talk about Eminem.
I recently read this interview he did for Spin.
In the interview Em discusses his long struggle with a prescription pill addiction, his recent (and hopefully lasting)sobriety and the pressures of growing old gracefully in the rap game.>>>

I first encountered Eminem as an angry, mal-adjusted middle schooler. Eminem appealed to me because he was angry and outrageous. Also he was kind of associated with the nu-metal scene(which I was deep into at this stage) as well as gangsta rap. The shocking lyrics now seem a bit transparent, but the cleverness of Em's wordplay is still enticing.
Eminem's music came under fire in the post-columbine era, earning him a place alongside provocateurs like Marylin Manson as a contributing cause of the increase in youth violence. He was hated by fundamentalist Christian groups and the gay rights movement alike. Saying you were a fan of his music was risky, yet he continued to sell millions of units week after week month after month.
Of course, with that kind of meteoric rise to success comes a lot of pitfalls. Eminem faced criticism for being a shallow shock artist, as well as accusations of ripping off fellow white "horrorcore" rapper Cage. At this time Em was raging on booze, pills, club drugs, weed and pretty much anything he could get his hands on. But very few people saw the cracks developing in his "Slim Shady" persona.
The first cracks apparent to the public appeared on his third album, "The Eminem Show" in which he revealed his desire to escape his persona and just be himself. It was the first time he showed emotional honesty and vulnerability in songs like "Cleaning out my Closet" and "Sing for the Moment". It was a decided step towards maturity and artistic credibility.
Unfortunately, Eminem's previous selling strength was waning, and the ever-fickle rap scene was threatening to leave him behind. At this point in time, Em was moving into producing, in the footsteps of his mentor Dr. Dre. This gave birth to D12, a sort of rap legion of doom fronted by the man himself. D12 didn't stray too far from the Slim Shady formula, but the addition of other voices gave their first album a bit of a different flavor.
It was also around this time that Eminem introduced the world to 50 Cent, who would go on to multi-platinum status himself. Things still seemed bright for Eminem, but his private life was in shambles. He'd been in and out of a volatile relationship with his ex-wife and mother of his daughter. He had a nasty legal fight against his mother, and was on a downward spiral of drug and alcohol abuse.
By the release of "Encore", his fourth full-length, Eminem was losing it. While his more emotional songs still had the grit and vulnerability he'd been flirting with on his previous albums, the more "fun" songs were silly and embarrassing. Many began to think that Em lost his edge.
After Encore's less than stellar (though passable) sales, he retreated from the limelight, with many people speculating that he would retire from rapping and focus on producing and mentoring younger acts. Instead, Eminem spiraled further into his addiction. He became reclusive and wouldn't leave his home for days at a time, gorging on fast food and sliding into paranoia and depression.
But eventually, Em decided it was time to get clean. Not only to resuscitate his quickly languishing career, but also for the sake of his children. He resurfaced in 2009 with "Relapse" which wasn't quite the return to form people were expecting. The album sold well, but still had hints of the goofy hijinks of "Encore". Em seemed like a man rehashing his old tricks, but uncomfortable with doing so. Perhaps rehab had changed him, or perhaps he was just realizing that he was nearing 40 and that psycho murder anthems weren't really dignified anymore.
Either way, Em scrapped a planned "sequel" to relapse and came out swinging with "Recovery", which may actually be his strongest and most emotional album yet. Listening to these new songs makes me realize how much I missed the guy and what I liked about him in the first place. His talent for clever wordplay has remained intact, as have his pop sensibilities. I recommend you pick it up if you are now or ever have been a fan, and if you aren't there are worse places you could start.

Will.i.am says the future of music will be micro songs. One minute long. Only the chorus. Yikes

It's a Disco Potluck and Goldfrapp Brings the Cheese!

This is "Rocket", the super-80's sounding new single from Goldfrapp's new album "Head First". Gotta say, it's pretty cheesy, but in a good way. Also it kind of sounds like "Jump" by Van Halen. It's nice to see the group getting back to making dance music, but without repeating itself. (Also, Seventh Tree was actually a terrific album)
So enjoy this track, I will post the retro-riffic video when it becomes more widely available.

Rocket - Goldfrapp

Ke$ha needs toothpaste!

Petition to help Ke$ha buy toothpaste

Those Kids Today!

"I hate the popular music they play nowadays. The videos are mostly R&B, over sexualized, and there to promote some arrogant asshole with a ego. (see video)

Speaking of youth, do they bother to listen to stuff that isn't on MTV anymore?

I was into Hendrix, Joplin, Yardbirds, Led Zeppelin and Black Sabbath when i was 14 years old. As did most kids my age back in the 90's.

Do kids nowadays still bother?"
-Actual Youtube post. All line breaks are original.

One of my greatest fears is becoming that bitter old guy who sits around at bars, or concert venues and does nothing but bitch about how music was so much better back when he was a kid. Actually, these guys aren't at bars and clubs anymore, they're on youtube. And in most cases they're not that old (maybe 30-35). They are so concerned with how the "emo generation" (Whatever that is) is ruining music they feel compelled to seek out the music of these "inferior" modern artists and slather all over message boards with their self-righteous, holier-than-thou ranting.

You know what dude? No one cares that you don't understand today's music. No one is going to change their listening habits because some 34 year old loser told them they don't know what "real emo" is because they were too young to see Husker Du play their first concert (Oh like you were actually there. Fuck you, you were more interested in listening to Sound Garden in 93. Admit it.)

And furthermore, half the stuff you thought was so cool when you were 15 is embarrassing now. I bet you still have pictures of yourself with a bad bleach job, wearing your dad's flannel shirt because you'd just seen "Smells Like Teen Spirit" on MTV, and went a little overboard. It's okay, man. That's what teenagers do. Eventually our tastes broaden and mature and we grow out of certain things. Surely you can remember how dumb, impressionable, and not to mention, desperate to fit in you were at that age.

Don't you for one second think you're any better than a 15-year old girl in a My Chemical Romance hoodie just because you grew out of your melodramatic phase over a decade ago. This is one of the purest things she will ever experience, why don't you let her enjoy it. Just because you're bitter and disillusioned doesn't mean you need to make everyone else miserable.

And shes wearing sunglasses made of cigarettes. Awesome!

I don't know what prison Gaga is in in that video but i wouldn't mind getting locked up there.

And Speaking of Electro Bands with Sassy Female Vocalists...

Get a load of New Young Pony Club, another new favorite of mine.

SOHODOLLS Bring Sex Back to Rock and Roll, But This Time, For the Ladies.

Sohodolls' song "Stripper" may be familiar to fans of "Gossip Girl", but many of us stateside are just finding out about the group, despite the fact they haven't released an album in 3 years. Luckily, this means you all have plenty of time to experience their enticing blend of sex, danger and trashy electro-glam.

The band look like close cousins of London garage-goth howlers the Horrors. Their sound is more polished but no less sinister. Lead singer Maya Von Doll, know for frequently performing with no more than a strip of black tape across her breasts, spits lines with a sassy, come-and-get me purr. But there's also a hint of venom and a sharp wit that could easily crush any man.

It's rare that a female vocalist takes on the role of sexual aggressor. Female pop singers, while leaning towards more risque material, still play the role of submissive, willing to please sex doll. Listening to Von Doll's delivery, you get the sense she'd fuck you and then rob you blind, leaving you handcuffed naked to a radiator in an empty apartment. And you'd still call her back the next day. She's the type plenty of guys fantasize about, but, in reality would be terrified of.

Likewise, the music mixes pounding dance beats and bouncy synths with doom-and-gloom guitars and old fashioned glam-punk swagger.
I don't know when the band plans to release a new album, so if you're itching for something trashy and fun, check out their 2007 album "Ribbed Songs for the Numb Generation" and take a gander at the video for "Stripper". I will warn you: this is NSFW, though it's nothing really explicit.

New Alkaline Trio Video Confirms That Children are Made of Confetti

I have really missed Alkaline Trio, and the one video they released for "Help Me" off their last album was a bit disappointing. This one is not exactly the most amazing thing I've seen in the last year, but it's a pretty fun video, and it has kids slamming into each other and turning into puffs of confetti, so yeah, that's pretty...umm...what?

If I hear bedrock one more time someone will die.

We Are The World 25 for Haiti

WHOSE RESPONSIBLE THIS?

The "new version" of "We Are The World" will probably generate tons of charitable contributions to relief in Haiti. Great. Awesome. I have no problem with that. What I do have a problem with is the sad pathetic excuse for a benefit recording. 

These big, star-studded songs aren't really about charity at all. They're mostly about rich, famous douchebags pretending to give a crap about poor people. By singing. Nothing heals the hearts of a country devastated by poverty, political corruption and natural disaster quite like an overblown pop song! And in this case it's even more of a passive-aggressive "fuck you" to the rest of the world. 

This time they didn't even write a new song. They covered a song written 25 years ago for USA for Africa! And they even had the stones to sample the original recording so Janet could sing with Michael (awwww). It's exactly what Elton John did when he re-recorded "Candle in the Wind" and tried to pretend it was about Princess Di.

And to add insult to injury a lot these "stars" are kind of second-rate. I'm not saying that these people haven't had hit songs, but the whole event has kind of an off-brand feel. Justin Bieber? are you kidding me? Pink? The Madden Twins from Good Charlotte? Where's Lady Gaga? Where's Jay-Z? Where's the guy from Kings of Leon? Half the list of artist involved reads like a run-down of the most bland and awful top-40 garbage of the past decade (Jason Mraz?  Katharine McPhee? Why are these people here?).

And then of course you have the other half of the list which is made up of singers that really bland, boring people (like your hyper-conservative aunt or hippie-burnout uncle) think are the biggest stars in music. Barbara Streisand, Celine Dion, The Members of Heart and Carlos Santana were all on hand.

Also Jeff Bridges and Vince Vaughan were somehow involved. It's like Quincy Jones chose the stars for this project by just flipping through an issue of Entertainment Weekly and randomly pointing at people.

I haven't gotten to the performances. And GOOD GOD,are they something else! There's so much auto-tune going on there's almost no point in figuring out which terrible RnB or rap "artist" is singing. The more "rock" vocals don't fare much better, as they are all either ridiculously overwrought or pass by so quickly you'd be hard pressed to notice them.

In closing, all I can say is this is a travesty. The money generated for Haiti Relief is great (even though 40% of it will go to administrative costs, advertising and royalties once the relief effort has been completely abandoned.) but the song itself is a crime against humanity. And I don't use that term lightly (Okay, well I did use it when they left the pickle on my Bacon Deluxe at Wendy's the other night, but still...)! 

The least Quincy Jones and all these "big stars" could have done is come up with something original that at least makes it seem like they gave this some thought. Better yet, they all could have just skipped recording the song and written some checks to the Red Cross. But no, they have to let their left hand know what their right hand is doing. Can't pass up free publicity and a chance to look like you give a shit.

Just set up mobile posting. Sweet.

10 Hip Hop/Rap Songs I actually Like.

I haven't devoted any blog space for hip hop yet. It's not because I have anything against the genre. I went through that phase every (sub)urban white kid goes through were they think it's really cool to wear baggy pants and talk in fractured English. Though I've fortunately grown out of embarassing myself by calling girls "shawty", I still enjoy some Hip-Hop although it's not my first choice when I'm driving around listening to the radio. Still, it wouldn't be fair for me to ignore such a culturally relevant genre.
I also haven't done any lists yet, and people really love lists (judging by the popularity of blogs like 11Points and Topless Robot). So I now present the 10 hip-hop songs I actually like. (In order from least to most)

10. "Forever" by Drake featuring Li'l Wayne, Kanye West and Eminem.
See? You probably thought I would only go for older hip-hop songs (see www.stuffwhitepeoplelike.com)
But this is a favorite of mine from 2009. It's pretty much a standard bragging song. I don't know much about Drake, but apparently he's Canadian (Something else white people like) and he got on the radio without a record label. Whatever. Not important, because this song is all about the guest rappers. I HATE Li'l Wayne. I find his music grating and insipid. But when he's a guest rapper, confined to a single verse, and ACTUALLY RAPPING, NOT AUTO-TUNING, he's not so bad. From there it only gets better as Kanye West reminds us why we liked "College Dropout" in the first place. Then, of course Eminem caps it all off in a third verse at break-neck speed. I was starting to think Em had lost his edge, what with the Mariah Carey feud and all, but he's in top form here. Wait? Rappers actually rapping again? Did I travel back in time to 2002?

9."Izzo (HOVA)" by Jay Z
Sure, the hook is kind of ridiculous and these days you'd look like a huge jackass running around going "H to the Izz O". But it's still got a great beat and showcases Jay Z's pop sensibility and his lyrical brilliance. This song is still cool, even after being quoted by Good Charlotte.

8."Keep Their Heads Ringing" by Dr. Dre
This song scared the crap out of me when I was about 10. It has that element of danger that so much of modern hip-hop is missing. When you were 10 years old, hanging out in the heavily ethnic suburbs and a low-riding cadillac drove by, you about pissed yourself, especially if they were playing "Keep Their Heads Ringing".
Now that I'm older and realize not everyone who listens to Gangsta Rap is trying to bust a cap in my ass, I can really enjoy the song for what it is. A masterpiece.

7."The Next Episode" by Dr. Dre featuring Snoop Dogg
Dre will reappear again in the top 5, as he has become one of my favorite Hip-Hop artists. His production on this track is just beautiful. Everything flows so perfectly, and Snoop Dogg is the epitome of West-Coast cool. These guys really need to team up again, because D-O-Double-G has kind of fallen off the bad ass bandwagon.

6."Hypnotize" by Biggie Smalls
This beats out the previous two entries simply by having such an aggressively funky bass line. Biggie's marble-mouthed, yet rhythmically deft delivery has yet to be matched by modern rappers. If there's such a thing as classic hip-hop, this gets my vote as a golden oldie.

5."Let Me Blow Ya Mind" by Eve featuring Gwen Stefani.
When this funky, minimalist hit first surfaced, Rappers and pop-stars collaborating was practically unheard of. Especially if both were female, and especially when the girl singing the hook was formerly of new-wave/ska hitmakers No Doubt. Still, this was a hint of Stefani's future as a Top 40 staple. Eve is one of my favorite female rappers. She was less trashy than Li'l Kim or Foxxy Brown. But she had talent to beat the band. I don't know what she's up to these days, but hip-hop could use some strong female voices again (other than just Missy Elliot). Oh, and Dre produced it, so of course I love it.

4."The Real Slim Shady" by Eminem
This profane little diddy shot Eminem to superstar status. The hook is undeniable, even now that "all the other slim shady's" have packed up and gone back home. The lyrics are a bit dated now, but still hilariously offensive.

3."Clint Eastwood" by Gorillaz
Okay, this one leans more towards the alternative hip hop/indie side of things, but it's got enough rap verses to count. This was a truly bizarre hit song. Nothing about it suggests a top-40 hit. A burnt-out Brit-Pop star? Cartoon band avatars? A strange, almost off-key hook? An obscure rapper with an unusual name? How did this become such a big song? Oh yeah, it rocks. Del Tha Funky Homosapien's off-kilter verses managed to add an air of menace to the wonky, psychedelic vibe of this track. Without this song, there could never have been a "Hey Ya!" or a "Crazy". I'm not kidding.

2. "So Fresh, So Clean" by Outkast I had a tough time choosing my favorite Outkast song. There are plenty of good candidates, but this one still sticks out in my mind because it was the follow up single to their monumental hit "Miss Jackson". This song was more fun, and actually had a better hook, but was overshadowed by it's big brother track. Outkast would never be this united again, as the two artists who made up the group began to go in vastly different directions. Consider this a snapshot of the perfect moment in their meteoric career.

1."California Love" by 2Pac featuring Dr. Dre. I realize this is technically a 2Pac song, and no disrespect to his talent, but Dre made this a hit. The production, as always, is brilliant, and the near 8-minute running time of the album version is unheard of in hip-hop today. Dre's rapping is at it's laid-back, cocksure best, as he boasts about the joys of ruling the west coast like a king. 2Pac never sounded as fun-loving or as fierce as on this standout track. Add the talk-box hook, a "Thunderdome" inspired video and you've got yourself the greatest hip-hop song EVER.

Bands say stupid things sometimes.

I just came across this article. It's from a while back, but it is a good illustration of today's topic.
Death Cab for Cutie Think Jared Leto Should Stick to Acting - Spinner

I really hate when bands do this. Especially talented bands who I generally respect. For some reason they feel the need to call out some other band who they don't particularly care for in an interview. It may just be an offhand comment that an interviewer decides to ascribe significance to, but it still smacks of Elitism and self-importance. I'm not saying musicians shouldn't have opinions about music. They are perfectly welcome to think whatever they like about fellow musicians. I'm also not so naive to think everyone can just live and let live when it comes to aesthetic choices. However, I think musicians need to think before they speak. Especially if they realize that their fanbase might overlap with the band they are dissing. You risk alienating your fans when you say "I hate (band name) If you listen to (band name) you're an idiot."

Success in the music business is 90% luck. Even if you're amazingly talented you can still toil in obscurity. Jared Leto may be a rich actor, but he started 30STM before he rose to prominence by dating Cameron Diaz. Also, he was in some little movie called "Requiem for a Dream" (I've never heard of it either). Leto worked his ass off to get the band off the ground, the same way any one who starts a band does. That alone is a reason for musicians to respect each other. They all come from nothing. Even bands which seem to be "vanity projects" for actors can't be guaranteed a huge audience (Just ask Keanu Reeves about Dogstar)

It's not just Death Cab I'm pointing the finger at. Consider the following statements made by musicians about other musicians.

Beth Ditto (The Gossip):"I hate Katy Perry! She's offensive to gay culture, I'm so offended. She's just riding on the backs of our culture, without having to pay any of the dues and not being actually lesbian or anything at all. She's on the cover of a fucking gay magazine."

This sounds like justifiable rage, especially because Ditto is a lesbian herself. However, she's presuming to speak for an entire culture. It doesn't seem to occur to her that other gay people may like the Gossip AND Katy Perry, and have no problem with "I Kissed a Girl" because it's just a dumb dance song about girls gone wild. I understand Ditto's concern that her culture is being co-opted and commercialized, but that's what pop music has been doing since Elvis.

John Lydon aka Johnny Rotten (Sex Pistols): "Don't try and tell me Green Day are punk. They're not, they're plonk and they're bandwagoning on something they didn't come up with themselves. I think they are phony."

Funny coming from a man who was part of the NSYNC of punk. The Sex Pistols were assembled by a music producer/manager who handpicked the members for their looks and personality. That's right, Johnny Rotten, you were in a punk-rock BOY BAND. You have no authority on this subject.

Brandon Flowers (The Killers): "Emo, pop-punk, whatever you want to call it, is dangerous. We don't wanna dislike anyone, and we've still never met Fall Out Boy, but there's a creature inside me that wants to beat all those bands to death."

Really, Brandon? You realize that without your synthesizers and faux-springsteen shtick, you'd be an emo band right?

I think you get my point. Bands are generally made up of self-taught musicians, many of whom have only high-school educations. They catch a break thanks to fans who support them, or a record label that plucks them from obscurity and sets them on the path to stardom. Either way, musicians are dependent on other people. A band cannot operate in a bubble. Oh how quickly we forget. Once a band has achieved a moderate level of success, they sometimes get a little full of themselves. Even the really good ones can lose touch with reality. If you're a musician, you should be grateful ANYONE listens to your music. If you've made it, as a band, then just be happy that you've made it. You don't need to take down other bands just to try to "stand out". It's a cheap way to get publicity and it draws the focus away from your actual art. And that is the last thing you should want as an artist.

Furthermore, as an artist, a musician should recognize that anything someone creates is in some way a piece of personal expression. No one says they have to like it, but they need to respect the fact that it is still art. This even applies to the pop music on the radio. It may seem soulless and manufactured, but that doesn't mean it was made without love or passion. Even if the end result is bland and uninteresting, everyone has the right to express themselves creatively and to at least be given credit for creating something people can enjoy.

I realize this sounds like populist drivel, and that's not my intent. I think populism is just as harmful as elitism. I have no desire for everyone in the music industry to hold hands and sing "Come on people now, smile on your brother, everybody get together, try and love one another right now!" God help us if it ever comes to that. If you hate what's popular in music, then get yourself out there as an alternative. Let the music do the talking. Show some class and some respect for your fellow artists, and maybe they will be mature enought o do the same. If not, you still come off looking more mature and dignified.

...and God said "Let there be METAL!!!!"

I was realizing today I haven't given much love to Metal on this blog. Apart from the short bit about "Metalocalypse." So today I'm going to talk about some metal bands who are not fictional, and examine the importance of metal in today's musical landscape.

Metal fans are as numerous and diverse as metal genres themselves. Some famous metal fans: Weezer frontman Rivers Cuomo, comedic actor Jack Black, stand-up comic Brian Posehn and apparently, veteran actor with a really cool voice Christopher Lee (He's putting out an album about Charlemagne! Brutal!).
Metal has seemingly come a long way from its Zeppelin/Sabbath roots. But, among the purest metal acts, there is still a stringent observance of the founding pillars of the genre:

THE FOUR PILLARS OF METAL

1)Extreme technical prowess: Metal is possibly the hardest genre of rock music to play (unless you play that wanky nu-metal crap). Zeppelin and Sabbath had a basis in the blues, but they also had a surprising amount in common with classical music. As metal has evolved it has only become more technical and complex.

2)Lyrics about weird/disturbing stuff: Metal lyrics are almost never about fluffy stuff like peace, love and understanding. They are usually about death, sex and hatred...and Hobbits. Sometimes. Other fun topics include: Vikings, Satan, Nuclear Annihilation, Cannibalism, Dragons, Antarctica, Cthulhu and whatever a "Nymphetamine" is.

3)Theatrics: Metal is not quite as over the top as say... glam rock, but it's one genre where dudes can get away with dressing like the spawn of Gene Simmons and Pinhead from "Hellraiser". Bands like Metallica, Pantera and Slayer forewent the costumes and makeup, but the music is just as overblown and insane as anything that came before. Songs with multiple key and tempo changes and blistering 2-minute guitar solos are pretty ridiculous when you think about it. But they're also what makes metal great.

4)Distaste for authority: While plenty of metal bands have signed to major labels and received radio play, Metal is still a largely anti-establishment genre. Especially in the case of Black Metal and Death Metal bands, who screech or growl their anti-social, anti-religious and morbid lyrics over mind-blowing speed-riffs. Songs frequently stretch past the 7-minute mark and rarely feature a catchy chorus or pop-hook. Yet these bands sell hundreds of thousands of albums and boast legions of loyal fans.

So, how do I square my love of metal with my love of far less brutal music? I don't know. I can't possibly explain why Kylie Minogue sits right next to Cradle of Filth in my I-tunes play-list. I'm just musically bi-polar.
But, I can explain why the metal scene is no place for me:

The Dark(er) Side of Metal.
Despite some of it's positives (a sense of community, encouraging real musical competency), metal has a number of negatives. This is true of any genre of music, but metal can be one of the hardest to defend.

1)Misogyny: Metal has never been a great place for women. That is slowly changing, but it remains a very male-dominated genre that is often guilty of treating women as sex-objects. Look, if girls want to flash their boobs at a concert, whatever. But guys at metal shows often have trouble with boundaries. There is no excuse for this. Guys need to be respectful of the women at ALL rock shows, whether they're topless or not. It's just good manners.

2)Homophobia: The word "fag" is tossed around so casually at metal shows, I don't think people even think about what they're actually saying. I don't care what you believe personally about homosexuality, when you're in mixed company, it's better not to offend. (yes I realize metal is often about offending people, but some stuff should be out of bounds). Besides, that skinny, emo-looking guy you just called a faggot likes metal too, and he just came to the show to see the band he likes, not get harassed by some douchebag in a Satyricon t-shirt.

3)Acts of Violence: I think most metal fans can agree with me on this one. Despite the dark and violent imagery in metal songs, most fans of the genre will limit their expression of brutality to mosh-pits and the occasional drunken brawl with some poseur who thinks Atreyu is way more awesome than Behemoth. But every culture has it's fringe elements, and metal's lunacy fringe can be downright terrifying. Some Black Metal fans in Scandinavia have gone as far as burning churches and murdering priests. "Dimebag" Darell of Pantera lost his life to a crazed fan who blamed him for the band's breakup. Metal shows have been rumored to include acts of animal cruelty, rape and murder. (These are often untrue and blown out of proportion by Christian watchdog groups, but I know for sure the number of women raped or people killed at metal concerts is most definitely not zero).
These acts have been condemned by the metal community at large, but are unsettling nonetheless. They've also provided much ammo for metal's critics who feel the genre encourages violence, hatred and insanity.

I only bring these negatives up because I care. I love metal, I always will. I just want to see those who love it as much as I do represent the culture a little better. Metal still doesn't get the respect it deserves, and a lot of that is due to an image that overshadows the real talent and creativity in the genre.

Now, as a parting gift here is a performance from an upcoming DVD by Swedish death metal legends; At The Gates. \m/

The Return of Alkaline Trio

Is there any pop-punk band more divisive than Alkaline Trio? Unlike their younger goth-punk/emo counterparts, The Trio had many years to build their punk cred, sweating it out in Chicago's beer-soaked punk scene and finding moderate success with their catchy melodies about death, dismemberment, alcohol and girls.

Their foray into the world of pop-punk wouldn't come until their third album, the touchstone "From Here to Infirmary", a bona-fide classic album in the eyes of many a Warped Tour veteran. Alkaline Trio always had a strong pop sensibility, but "Infirmary" found them beginning to lean towards dark power-pop, and while they maintained their trademark sense of humor and penchant for palm-muted power chords, there was an unmistakable shift towards a more professional product.

Despite the evidence that Alkaline Trio was on some kind of Bizzaro-world Blink 182 career path, their loyal fans stuck with them. But Alk3's next move would challenge those loyalists even as the band gained new fans. "Good Mourning" signaled a new look for the Trio. Matt Skiba had started wearing eyeliner, dressing in snappy black shirts and red ties. He looked like Satan's attorney. Likewise Dan Andriano had also adopted the black-and-red motif. The band had always had a dark side, but this was a big change from their former low-key aesthetic.

To many Trio fans, it looked like the band was selling out.
And you can't totally blame them for thinking that. AFI had recently rocketed to popularity with "Sing The Sorrow", an ambitious new album and a similarly gothed-up look. To someone on the outside it would seem as if Alkaline Trio was trying to crash the goth-punk party. Perhaps in reaction to this, "Good Mourning" opens with "We've Had Enough", which railed against mainstream radio-rock, and assured those who'd listen that Alkaline Trio wanted to get on the radio to give a voice to alienated punks everywhere.

Still, some of the backlash was outweighed by new fans who rabidly gobbled up the Trio's back-catalog. No band wants to lose loyal fans, but Alk3 seemingly understood that they needed to grow as a band, and this growth would be painful.

The band waited two years to release "Crimson" by far their most eclectic and divisve album to date. The opening song "Time to Waste" opened with a moody piano piece before diving headfirst into cascading octave chords. Yes, octave chords. The Trio had apparently been swayed by the sometimes unfairly maligned scourge of punk-rock for years to come, emo. I know many Trio fans who find Crimson unbearable. I still think it's one of their best works. The production is brilliant, although there's still an undercurrent of grime thanks to Skiba's booze and tobacco-scarred pipes.

Plus, it showed that the band was more than capable of straying from their roots without sounding out-of-place. "Crimson" veered from old-fashioned Trio barn-burners like "Mercy Me" to atmospheric synth pop like "Sadie" to Interpol-esque post punk like " Prevent this Tragedy". I could go on, but you should hear it for yourself.

And while the creative stretching was nice to see, even better were the advances in Skiba and Andriano's lyrics, as they shared vocal duties on more songs than ever before. There was still plenty of death and resentment of old flames, but the lyrics showed that boys had extended their perspectives a little. Death was explored with less morbid curiosity and more grim resignation. There was sadly less of the band's black humor, but Skiba had become far more poetic without sacrificing clever turns of phrase. Still, the album was a huge sore spot for many, many fans of the group, and some of them abandoned the group altogether.

The follow up to "Crimson", "Agony and Irony" was the first time the band seemed to doubt themselves. Perhaps the reaction to "Crimson" had caused them to wonder if they'd strayed too far from their roots. Matt had found some outlet for his new-wave and goth interests with Heavens, a side project he embarked on with Josiah Steinbrick.
In fact, it seemed he had grown out of the makeup and black clothing, perhaps it seemed played out after it was borrowed by so many bands between 2005-2008.

Unfortunately, "Agony" was neither a celebrated return to form nor a bold step in a new-direction. The songs grew poppier and the hooks on singles like "Help Me" and "Love Love, Kiss Kiss" were undeniable, but much of the album seemed undercooked. It was a solid album, but felt a bit lifeless. There was also a distinct lack of morbidity. Which isn't necessarily a bad thing, but it troubled many fans to think Skiba and co might actually be turning into sappy middle-aged hacks.

I'm proud to announce that I have heard the first single from Alkaline Trio's upcoming album. It's called "This Addiction" and it's quite good. The band is releasing the album on their own record label, and the freedom seems to have rejuvenated them. This track sounds a little more like the young Trio, but it shows off far more competency than that band could have ever boasted. The instrumentation is tight, as are the harmonies. It isn't ground breaking, but at this point in their career, I think Alkaline Trio have earned the right to settle down and enjoy themselves, considering they've survived this long in a scene that often eats it's own.

I don't believe the band will ever be selling out stadiums as others have. They certainly deserve it at this point. But the group is just a bit outside of what's acceptable for mainstream pop-punk. Being dark is fine, unless you decide to sing about Charles Manson and are a known member of the Church of Satan. Although The Trio might appear to have softened in order to appeal to eyeliner-clad hot-topic shoppers, they're still on the outside, laughing at the popular kids as they catch on fire. (yeah, I remember the "Stupid Kid" video.)