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Taking Back Sunday
New Again – For Taking Back Sunday it’s more than an album title, it’s a declaration. “We kicked around a bunch of different titles, but that one always remained the top of the list, and that’s because it really does feel like a new band,” vocalist Adam Lazzara says. Taking Back Sunday is not turning their collective back on what is already a storied past, not when their resume boasts three gold albums, two of which hit the top five (including a #2 debut for 2006’s Louder Now), extensive touring with the likes of Linkin Park, My Chemical Romance, and Jimmy Eat World, as well as co-headlining the Warped package and appearing at the . . .
The Days
Another day, another sparkling pop gem comes winging out of a grungily cool west London recording studio. The Days are hunkered down in Eastcote, the vibey little wellspring of much of the last Arctic Monkeys’ album. They’re hard at it, demoing new songs: b-sides, future singles, ideas for albums two, three, four. Blessed with a profusion of crisp tunes, The Days have put in serious studio time, some of it with Youth. Now, some young bands would be daunted by the prospect of working with the uber-producer behind records by everyone from The Verve to Primal Scream via INXS – as The Days cheerfully admit, ‘Youth is mental, in a good way. He knows how to get the best out of people.’ But
The Enemy
Return with April 27th release of bold new album ‘Music For The People’; album preceded by single ‘No Time For Tears’ on April 13th. The Enemy follow their all-conquering, chart-topping debut ‘We’ll Live And Die In These Towns’ with the release of their bold new album ‘Music For The People’ on April 27th. Released on Warner Bros. Records, the album will be previewed with the April 13th release of the single ‘No Time For Tears’. Recorded at Monnow Valley Studios towards the close of 2008 with producer Mike Crossey (Arctic Monkeys, Razorlight), ‘Music For The People’ is a bold step ahead of the Coventry trio’s debut album, mixing . . .
The Flaming Lips
Nowadays, here in America, there is a deluge of metaphysical paranoia constantly flowing out of the new, smart, radical, fanatical, hippie, drug culture underground. It almost always centers around the exaggerated evil powers of George W. Bush and the exaggerated benevolent benefits of psychedelic drugs... mostly Ecstasy and L.S.D. And, inevitably, the speculative conversations suggest that perhaps some of the (spoiled, radical, hippie, enfant terrible) sons and daughters of the most influential power lobbyist pals of the Bush administration should somehow infiltrate a Camp David assemblage (or any secret meeting) and give them all a
The Friday Night Boys
It may seem like Fairfax, Virginia’s The Friday Night Boys have led a charmed life thus far, but to say they don’t deserve everything that’s come their way would be an out-and-out lie. Like many of today’s breakthrough musical acts, The Friday Night Boys—which features frontman Andrew Goldstein, bassist Robby Dallas Reider, guitarist Mike Toohey and drummer Chris Barrett—got their start on the Internet. However where their story goes from there is where things really get
interesting. Just one year after this group of tight-knit high-school acquaintances formed The Friday Night Boys, they decided to . . .
The Swellers
From the perpetually down-on-its-luck, blue collar, rustbelt factory town of Flint, Michigan, comes new Fueled By Ramen signees The Swellers, a punk band that knows a thing or two about making hard, no-nonsense, but infinitely catchy music. Following in the footsteps of other hard- Flintites who've made their name on the world stage—film provocateur Michael Moore, ’70s hard rock pioneers Grand Funk Railroad, ’80s grindcore/deathmetal pioneers Repulsion, and the late rapper M.C. Breed—The Swellers have forged a hardedged, yet accessible style of punk over the better part of a decade, the last three of which have
The Used
A few years ago, while preparing to send the album art for b-side collection Shallow Believer to his record label, Bert McCracken scrawled the word “Artwork” across its cover in silver ink. The sentiment, which, to Bert and his bandmates in The Used, resonated with both extreme simplicity and indescribable complexity, said everything without really having to say anything. Now, the Utah band has titled their fourth full-length album with that very word: Artwork. The group started writing the album after finishing the Taste of Chaos International tour in 2007, slowly collecting and jamming out ideas with no concrete intention
The Veronicas
Already massive pop stars in their native Australia, 24-year-old twin sisters Lisa and Jessica Origliasso, known as The Veronicas, spent most of 2008 winning over legions of new fans while on the road with Natasha Bedingfield, Hanson, and the Jonas Brothers in support of their red-hot second album Hook Me Up, which was released by Sire Records in August 2008. Clearly, all their hard work has paid off. “Untouched,” the first single from the electro-rock sizzler Hook Me Up, is the girls’ first-ever gold record in the U.S., having sold more than half a million downloads. The track caught fire at radio (especially New York’s trend-
The Virgins
If someone made a film about The Virgins, the director’s pitch to the studio would be Stand By Me meets The Goonies meets Kids. It’d be an adventure story full of crime, hedonism, self-discovery and, more importantly, friendship against-all-odds. Three boys from opposite sides of NYC with polarised backgrounds, united in bizarre twists of fate and a shared love of good-times and guitars. This time last year, few could have guessed that this bunch of tear-aways would be preparing one of 2009’s gleaming radio-indie Trojan-horse albums. ‘The Virgins: The Movie’ idea wasn’t without substance. The band’s core trio are . . .
The Wombats
At first, The Wombats were a joke they didn’t want anyone to find funny.
“For our first gig we wore jesters’ hats with sunglasses,” says guitarist/singer Matthew ‘Murph’ Murphy. “They had bells on the end,” adds drummer/singer Dan Haggis. Murph: “In the middle of the songs we’d break into uncontrollable screaming. The idea was not to be funny.” Dan: “If people laughed we’d be like ‘ah we dogged it’. We wanted it to die on its feet. Literally people would just stand there and there’d be this awful silence. You know like in The Office when there’s a dreadful silence, and the next day we’d be like ‘Ah that was amazing that bit . . .
