“Don’t Be Afraid to Live What You Believe”: 45 Years of Tom Petty & The Heartbreaker

Tom Petty & The Heartbreakers. There is one band that has had more of an impact on my life than any other, and this is the one. Though I’ve only been familiar with their full discography for a little over three years now, the ways my life has changed since diving in to everything they have to offer has amazed me. 2021 marks 45 years since Tom Petty & The Heartbreakers came onto the rock ‘n’ roll scene, and to celebrate that, I want to share with you a personal piece about how this band has changed my life. 

What’s funny is that the biggest impact this band has had on my life can be summed up in one single line from one single song that was released AFTER Tom passed. It is my all-time favorite song by any artist or band ever, and if you told me I had five minutes left to live, I’d listen to this song and then start it over even though I know I wouldn’t be able to finish it a second time. The song is “Keep a Little Soul,” and it was released in 2018. As soon as I first heard the lyric that ends the second verse, my life was changed. 

I had just gotten into Tom Petty & The Heartbreakers in late 2018 (and I’ll forever regret taking so long!), and I had also just been given a huge collection of old records from my high school Spanish teacher. I remember being sat in my living room floor digging through the records with Tom Petty & The Heartbreakers’ music videos playing on my TV for some background noise. I was crate digging and letting YouTube’s Autoplay function take over when I heard Tom’s voice count off into a song I’d not yet heard before. I looked up and saw archival footage of a happy early 80s Tom and was drawn in immediately. I was bopping along and digging on the song when the ending line of the second verse hit – “don’t be afraid to live what you believe.” At face value, that line might not mean much to you, but to me, it hit me like a train. As soon as I heard it, it started to rule my life, and it still does to this day.  

To an extent, I suppose I changed the meaning in a way – I really latched onto that first part, “don’t be afraid.” For a big part of my life I’ve refrained from doing certain things just because I was afraid of something. I was afraid of embarrassing myself, or of people making fun of me. I was afraid I would make some kind of mistake that couldn’t be fixed, or I’d face some kind of rejection and get hurt. I wanted to protect myself, but in sheltering myself, I found that despite being “protected,” I was still as unhappy in my own skin as I would be if I embarrassed myself or made some kind of irreparable mistake. That lyric just drove that point home. You are equally as unhappy when you shelter yourself from hurt as you are when you get hurt. When I started to risk getting hurt to do the things that mattered to me, things began to change. 

With that lyric, Tom Petty helped me realize that it’s okay if you don’t fit in, or if who you are doesn’t belong where you are. His and the Heartbreakers’ music feels like a second home, a place to go when you feel like you don’t belong wherever you are. It’s a place without judgment and without fear. In that home, I could wear as many of my weird hats as I could ever want without getting snide glances, my Instagram username could be as dorky as I want it to be without being laughed at (and it’s dorky, trust me). It was because I felt safe in their music that “don’t be afraid to live what you believe” is so easy for me to live out now. 

I think I could even attribute my moving to Indiana from Arkansas to this line. The only reason I’m here in Indiana is because I believed in my crazy idea that children’s educational media is not only something interesting to study, but something I could pursue graduate work and eventually a career in. When I first started thinking about going to graduate school with this interest, I was scared. I agonized over it, whether or not I could do it in the first place and if I could even find a place to go that would take me. Every time throughout the process of deciding what I was going to do that I would hear “Keep a Little Soul,” that line would hit me again just like it did the first time, and nudge me in the right direction. I filled out applications, I wrote essays, I wrote an entire thesis based on this idea, and I got in, because doing this is something I believe it, and I lived it. 

It's also because of Tom Petty & The Heartbreakers and this song that I’m writing this piece that you’re reading in the first place. Tom Petty effectively brought my fellow BANDED contributor Baylee Avery into my life. From what I understand, she friend-requested me on Facebook after seeing that we share a love of Tom Petty and The Shelters, a band that Tom had worked extensively with. I accepted, seeing that we had some Tom Petty-related friends in common, and we connected on Instagram. Immediately upon connecting with her, I could see that writing was something she’s unbelievably passionate about. Music journalism is her dream, and her passion and enthusiasm for it radiates off of her in everything she does. I was inspired by that – she was doing everything in her power to live what she believes. Seeing that made me realize that my own journey with music didn’t have to be over just because I had chosen an academic path. 

I remember becoming more and more interested in BANDED as I saw Baylee post about it more and more often, but it took me a while to actually consider it for myself. Once I did start to consider it as something I could do too, I found myself making every excuse I could think of as to why I couldn’t do it. I would fill in the submission boxes to apply to be a volunteer contributor, but I’d never click that submit button. It was something I wanted, but I was hesitant and afraid. In conjunction with an also inspiring line from a Shelters song, this line from “Keep a Little Soul” worked its magic on me yet again. I realized that I was just making excuses and that being involved in music in any and all capacities possible was something that I very much believed in, with my whole heart and soul. It was important, it was imperative, that I live that, so I hit that submit button, and here we are today. It is because of Tom Petty & The Heartbreakers that I joined the team, and now I get to write all about them. 

Their music has spoken to me since day one. Whether the meaning I pull out of each song is the meaning Tom intended doesn’t really matter, and I think he knew that people would do that. I think he wrote his songs in a way that mattered to him, but he knew that people could and would find some other meaning outside of anything he ever imagined. I hope he was proud of that, that his music had that kind of power and effect on people. I hope all of the Heartbreakers are. Despite having not truly discovered his discography until after Tom passed, it feels like he knew me, he knew my struggles, he knew where my heart was, and he knew what I needed to hear. It felt like he understood me without ever even knowing me. One of the songs released after his passing, “For Real,” has a line that I think is important here. 

“I did for real, 

would’ve done it for free. 

I did it for me, 

cuz it was all that rang true.

I did it for real, 

and I did it for you.”


Tom Petty & The Heartbreakers made music for them, because they loved it, but in the least selfish way possible. Anyone who loves to make music knows how just how powerful music can be; they did it for them, but they did it for us too, to create something real, something meaningful. I just don’t think they knew just how many lives they would change while they did it. 

It’s so easy to only talk about Tom, and not the rest of the Heartbreakers simply because Tom did a vast majority of the writing for the band, and it’s his words that have connected with me. However, you cannot discount the influence of the Heartbreakers, and ultimately, we wouldn’t have Tom Petty without them. When Mudcrutch went to LA to try and get a record deal, got one, and then the label only wanted Tom, he fought to have a band. He didn’t want it to just be him, he never intended for it to just be him, and if the label had refused to let him have his band, I think he would’ve walked away. He cared about the music being bigger than just him – it meant so much more to him than just the spotlight. 

Talented as he was, he couldn’t have replaced a single Heartbreaker because they were all so necessary to the makeup of the band. Tom couldn’t have taken the place of Mike Campbell, or Benmont Tench, or any of the Heartbreakers. Each one of them is integral to the sound and legacy of this band. They didn’t write the words, but they brought the emotion to every single song as though they were all living every word. Their contributions to every single song are insurmountable. They brought ideas that only they could have had, and without those elements they brought in, the songs just wouldn’t have been the same. Who would ever want to hear “American Girl” without Mike’s guitar riff, or “You Don’t Know How It Feels” without Steve Ferrone’s perfectly tasteful drums, or “Southern Accents” without Benmont’s beautiful piano?

I truly believe this band changed my life. I am who I am now because of Tom Petty & the Heartbreakers. No band has influenced me the way this one has, and no song has impacted me the way some song recorded in the 80s that was thrown in the vaults until being uncovered nearly 40 years later has. I find myself endlessly amazed when I look at where I am now, knowing that I’m only here because I finally decided to stop being afraid. I will forever be grateful to this band for having given me and continuing to give me the pushes I need to keep moving in a forward direction. There really will never be another band like them. 

Cheers to 45 years of Tom Petty & The Heartbreakers and never being afraid to live what you believe!

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The Breakdown: Top Albums 2021

What’s up rockers from all across the world! It is that time of the year for our top picks.

2021 was a huge year for the rock industry and so many of our favorite artists put out new music after the craziness of 2020. Becca & I breakdown our favorite albums of the year, some you may have heard of, but others may not have caught your radar….

REVIEW: 2011 by 5 Seconds Of Summer

In honor of 5 Seconds Of Summer’s (5SOS) tenth anniversary, the Australian band dropped their newest single titled ‘2011’, the year they established themselves as a band. 

Throughout the past decade they've seen a lot but started from virtually nothing. In February 2011, front man Luke Hemmings posted his first ever singing cover of Mike Posner's ‘Please Don't Go’. As months progressed the rest of the band started to come together recruiting lead guitarist Michael Clifford, bassist Calum Hood, and drummer Ashton Irwin. 

In 2014, they joined One Direction on tour as the opening act on the Take Me Home tour, which helped the band acquire a large following. In that same year, they released their self titled album that featured their first major single, ‘She Looks So Perfect’. The year after they embarked on their first major headlining tour Rock Out With Your Socks Out.

 In 2018, 5SOS opted to swap out the pop punk persona for a more mature pop sound with their single, ‘Want You Back’. This set the stage for their sophomore album, Youngblood, which had great success. Continuing on with this new sound during the first major shock of a global pandemic, they dropped their fourth album CALM which debuted at #2 on the billboard 200 chart. It would have been their fourth album to reach #1 but due to a shipping error the sales were counted a week earlier than the actual release date.

 But enough of memory lane let's talk about… well, memory lane.

On December 3rd at midnight, they dropped not only a homage to the years they spent together as bandmates, they dropped a sneak peak to what they've been cooking up in the couple months for their next album. 2011 has a poppy feel good atmosphere with hints of reflective melodies. Lyrically, it's a sentimental anthem of living bravely in a moment in the past as if it was easier than the current uncertainties of the present. It highlights that life changes fast and often we take moments in the present for granted while worrying about the future then find ourselves looking back at days gone by wishing we could return to the very same moment we started worrying in the first place. Lastly, long time fans will rejoice once they hear that all four members recorded vocals like it's quite literally 2011.  

I think I speak for all of us when I say that we’re really proud of the four Australian boys who started out singing covers on youtube and that we are on the edge of our seats for what's to come in the next decade!

Watching All the Days Roll By: 50 Years of Electric Light Orchestra

Electric Light Orchestra. ELO. Where do I even begin?

2021 marks 50 years of the band’s existence as ELO, and despite a name change in 2015, the band and its music live on. ELO was my first favorite band. They’ve been a part of the soundtrack to my life for as long as I can remember. I have so many memories of my childhood with ELO playing in the background. All the time I spent in the car as a child, for so much of it I had my peace sign headphones on listening to Secret Messages and Balance of Power, or my dad was playing “Jungle” or “Telephone Line” out loud in the car for my brother and I and we were goofily singing along and laughing. ELO will forever be one of my favorite bands, and to celebrate their 50 years of making magic, I want to share with you what ELO means to me.   

ELO was THE band that single-handedly shaped my taste in music. ELO’s music has always been harmony-centric, sonically interesting, and different from the music of their peers. The sounds they’ve created are unique and innovative – they were always doing something wild and interesting. More than with any other band, I have found myself drawn to music that employs the same big elements you’ll find in ELO’s discography.

My entire life I’ve been drawn to music that is very harmony-centric. Most of my favorite bands focus heavily on harmonies in their music. It is arguably because of ELO that I fell in love with Queen when I was 12, or The Last Bandoleros when I was 17, or Breaking Grass when I was 19. Breaking Grass is a unique example when it comes to harmonies. Bluegrass music could not possibly be any more different from the classic ELO sound, yet it is because of the classic ELO sound that I love bluegrass music. Who could have predicted the ELO to bluegrass pipeline?

The ”orchestra” part of the Electric Light Orchestra has always been one of my favorite things about them. Strings in non-classical music is like magic in its purest form. I am obsessed with strings and string sounds in non-classical music. I am always the most obnoxious person in the comment section when one of my favorite bands uses strings or string sounds in their newest releases, just hollering about how much I love it. There is no song on this earth that strings cannot improve, I am convinced, and it was ELO that convinced me. They sparked that love, that obsession, and now I can’t get enough. 

I always love picking out songs in the Top 40 that sound like ELO too, and every time I find one, every bone in my body wishes I could ask the artist what influenced that sound. Thad Cockrell was on Late Night with Jimmy Fallon with his song “Swingin,” and I very distinctly remember Jimmy himself talking about how much he thought the song sounded like ELO. I was fairly skeptical, but as soon as that chorus came in, I thought that song would’ve fit right in on Out of the Blue. The Weeknd’s “Save Your Tears” is reminiscent of Time to me; if a few more elements were added, just a little more production done, it could be on that record. Whether you agree or disagree with me on that, and I’m sure several people disagree, the point is that I can hear ELO everywhere I go. I hear elements from their music everywhere. That’s not to say that every artist everywhere was inspired by ELO, ELO was after all heavily influenced by The Beatles, but it's such fun to pick out those similar sounds in modern music. 

It’s also worth mentioning the ELO - Traveling Wilburys – Tom Petty, George Harrison, Roy Orbison, and Bob Dylan pipeline. I knew who all of these musicians were before discovering the Wilburys, but it was because I discovered the Wilburys that I found a love for each of these musicians, and it is because of ELO that I discovered the Wilburys. George Harrison is my favorite Beatle, Tom Petty is my favorite musician of all time, Roy Orbison has one of my favorite voices ever, and Bob Dylan? He’s a legend (and I’ve seen him live!), and the Wilburys were my proper introduction to him. ELO led me to these incredible rock ‘n’ rollers, and who could ask for a better group of musical dads?

Even not being fully exposed to their full discography as a kid, I still, even with what little I had really heard as a kid, became so open to new-to-me and unique musical sounds. I was musically very open-minded to many genres (though there were some that I still refused to touch), and the discoveries I made as I grew up are ones that I’m not sure I would have made without ELO to open my mind. Their sonic uniqueness and the cinematic quality to their music put me on the path to discovering Greta Van Fleet. Their use of haunting chord progressions turned me on to songs like Fastball’s “The Way” or The Hollies’ “The Air That I Breathe.” Just being exposed to sounds that differed from what all my friends were listening to made me more open to other sounds that my friends weren’t listening to. I think ELO might be one of the reasons I find myself latched onto Tejano and Cuban sounds, sounds like those The Last Bandoleros and The Mavericks make. For me, those kinds of sounds are very different from what I was surrounded with where I grew up, but it was already so different from my peers to listen to ELO that listening to other things like that wasn’t difficult for me, and doing so has allowed me to discover so many new and beautiful bands. 

I think ELO is an incredible example of an idea that has plagued me for a few years now – I believe that we are all a mosaic of everything we have ever loved, and that applies to music too. Who we are is due, at least in part, to the music we love. When I’m feeling introspective, I think about how my life might be different if I’d never been exposed to their music. ELO will forever be one of my favorite bands. I will forever cherish the music I’ve discovered because of them and the memories I’ve made with their music as the soundtrack. 

Cheers to 50 years, to many more, and to the music that is reversible when time is not.

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Aerosmith Releases 1971 Recording of 'Movin’ Out'

What was recorded on Joe Perry’s tape recorder by five guys living in Boston in 1971 has resurfaced 50 years later as part of a special release for Record Store Day 2021, “Aerosmith: The Road Starts Hear”. While the 7 song LP is a special release only for Record Store Day, Aerosmith did release “Movin’ Out”, which wasn’t released later until 1973, on their YouTube channel for the entire world to hear. 

“Movin’ Out” is a significant song for Aerosmith because this was the very first song Steven Tyler and Joe Perry, the Toxic Twins, wrote together. This song started everything for this band and now this could possibly be the first EVER Aerosmith recording. It only makes sense that this was the first, and possibly only song released from this very special recording. 

“All that is certain is that the tape captures a young, hungry rock band one year before being discovered and signing with Columbia Records and two years before their self-titled major label debut was released that helped catapult the band to one of the biggest rock acts of all time.” -Aerosmith.com 

This recording of “Movin’ Out” is so unique because it actually takes you back to the time when Aerosmith started out. When listening, you feel the energy of that young, hungry, and at the time, no-named rock band. It’s honestly something I’ve never experienced. 

As a young Aerosmith fan and someone who was raised in Boston where it all started, I feel like there was so much of their career that I missed out on, especially in their early days. Hearing this recording makes me feel like I was right there with them back in ‘71. Again, something I’ve never felt before when listening to any of their music, it’s a surreal feeling. This track gives you a glimpse of who Aerosmith was before they became the Bad Boys of Boston we all know and love today. 

What blows my mind most about this is how even though the band had been together for about a year at that point, it sounds as though they had been playing together for an entire lifetime. Sure you can tell right away that this is a young, 70s, garage rock band doing everything they can to make it big, but at the same you hear the chemistry that they have with each other. For a couple of young guys that were just starting out, they sound so professional and like a real rock band that's been playing together forever. They were destined to be together, and they were surely going to become one of the biggest bands in the world. 

“Aerosmith: The Road Starts Hear” is an extremely limited release. All details can be found on Aerosmith’s website.

Danica Dye Deepens on Her Soul Baring Single, ‘Other People’

It’s early evening in the Bluegrass state, and emerging singer/songwriter and pop-star Danica Dye is the 22-year-old pride of popular music. ‘Other People,’ is an intimate self-reveal of a young woman not confident or assured; uncertain and anxious. But most of all, a young woman who’s still growing through those exploits. She’s trying her best amidst a recent breakup with a dumped boyfriend in question whom she stated, “We should see other people.” “Afterwards,” she continued, “I was blocked on social media.”

In the great tradition of the songwriting process of writing, recording, mixing and uploading a hit single, Danica did all of that with ‘Other People’ in a matter of less than four hours. “I’m very proud of myself for doing it all on my own,” says an inspired Dye, “but I’m also literally terrified of what people will think of it. As an artist, I think doing it all personally shows my independence and strength.” A Taylor Swift-esque soul-crushing split about a sad, desperate, tear-jerking point-of-view experience with a significant other/others. It has an unfinished feel, yet a complete heartfelt work of lyrical prowess that heralds her legacy amongst the modern greats in terms of popularity.

Dye at the age between 11 or 12, way before she was opined as the new Taylor Swift, but in the best possible way, grew up wandering into her father’s musical mantuary — or rather, studio, while he was working on a heavy use of an aggressive hard rock song. The shared moment down memory lane when her father allowed her to lyrically pour out writings and record all the sadness, and all the joy through her mind was one of Danica’s favorites.

The illogic dependency on other people, to see the beauty in who you are, is unhealthy to Dye, who has a hard time loving the person in the mirror. ‘Other People’ is like reading aloud from a self-written diary, but shared through a pleasant-sounding, painful ballad. “Is it goodnight? Or is it goodbye? Baby if you love me/Don’t tell me that you tried/I’m falling apart when I thought I could fly/So much for my songs/So much for my mind.” It’s one of those I can’t take my own advice songs,

Danica Dye is an everyday person, ready to take the stage of the music industry and show the entire world that nothing can stop them. “If anything,” she says briefly to sum up, “I want to bring disabilities into mainstream media and prove that we’re not unable to do anything. There’s a huge difference between the words “unable” and “disabled,” and I want to differentiate them once and for all. It’ll be a tough challenge down this road, but music is a universal language — if there’s one language I am fluent in, it’s music. That’s me.” 

Emerging pop singer, yet this sorrowing pop banger immediately puts the songwriter’s writing ability up there with a list of the renowned greats who have made and left an infinite mark in music. It’s clear as day that Danica Dye is absolutely here to stay. And even better as it sounds like her very best is still yet to come, musically. “The words just kept tumbling around in my head, along with some advice from friends. I’m trying my hardest to love the person in the mirror.”

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Andrew Hagar Releases Steamy New Track, 'Red Light Appetite'

“Our souls are screamin.’”

When your jaw drops to the floor within seconds of hearing a song and your soul wants to scream, you know it’s GOOOOOD. That was my honest and unadulterated reaction upon first hearing Andrew Hagar’s brand new song, ‘Redlight Appetite’. Released just today, this song follows his 2020 release ‘Coldknife Karma’ and boasts strong growth as an independent artist. Andrew Hagar is back and fiery than EVER.

Passionate vocals and grab-you-by-the-throat guitar riffs, ‘Redlight Appetite’ is pure poetic lust. Like a burst of flames rolling in, this track breathes energy and ingenuity into the rock n roll revival.

“The song was inspired by my own struggles with the cycle of addiction… not being able to identify the difference between love and lust, using sex as an unhealthy coping mechanism, burying my trauma with drugs and alcohol. Basically all the hallmarks of an addict prior to an intense spiritual awakening,” Andrew told Consequence.

Hagar worked with long time friend, Trev Lukather (son of Toto’s Steve Lukather), to write and produce the song. Proving teamwork really does make the dream work.

Stay tuned for more releases from Hagar coming in 2022. Until then, get lost in incendiary sound of ‘Redlight Appetite’ below…

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BRKN LOVE are back at it with a crushing new single, “Dead Weight”

BRKN LOVE have accomplished another well crafted piece that emulates their signature guitar sound, driving riffs and deep rooted lyrics. The Toronto/New York City based rock band have proven that they are a force to be reckoned with. “Dead Weight” is a powerful stance on self-deprecation and feeling like you’re the ‘odd one out’ because of their opposing views of mental normalcy. 

Vocalist and Guitarist, Justin Benlolo has carefully crafted an anthem for those who feel like they’re in some form of mental asylum. This can be clearly represented in lyrics such as: “I’m going against the grain/I can’t help it I just love to hate/Black heart beating outta my chest/Head won’t stop like I'm possessed.” The lyrics show you what Benlolo was trying to expose to the world with precision. The song is clear proof that the band is ready to take everything to the next level. 

You can check out “Dead Weight” and watch the video below…

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Review: Avril Lavigne 'Bite Me'

Picture it - it’s 2004, Avril Lavigne was in her prime and releasing bop after bop. I mean, In My Skin? Superior album. We all fell in love with the angst that she brought to us through her songs and it’s probably safe to say that she is an emo queen. 

Now fast forward to 2021, she released a new single with Blink-182 drummer, Travis Barker, titled “Bite Me”. A collaboration between Avril Lavigne and Travis Barker? 2000’s pop-punk icons? This is bound to be one hell of a song that’s full of nostalgia. 

And full of nostalgia it is! This song screams; “2000’s pop-punk!” The second you hear Avril sing, “you should've known better, better to fuck with someone like me” - you know you’re in for a roller coaster ride back in time.

This song has almost the same vibe as Avril’s first single, “Complicated”. After first listening to it, I had to go back and listen to the hit single off of Let Go and I could feel the same vibe in both songs. It just comes to show you that even after almost 20 years, Avril can still rock out and STILL reigns queen of pop punk.

“Bite Me” is bound to make you feel like you’re back in 2004 rocking out to Avril in your bedroom. Get ready to start using your hairbrush as microphones again, folks. We can’t wait to hear what else Avril may have in store for all us. 

Now, do us a favor and stream “Bite Me”….

Green Day's International Superhits Turns 20

Twenty years ago, Green Day released their first greatest hits album, International Superhits!. 

The choice to release a hits album so early might seem strange to anyone looking retroactively at the careers of the Oakland based rockers, especially with their greatest chart success American Idiot still three years from being released at the time that International Superhits! hit the airwaves. 

International Superhits! was released during a career lull. Green Day was struggling to fill venues they had previously packed out, and Warning, their 2000 release, while having a unique sound, deviated from their earlier and edgier albums, had not enjoyed the same commercial success as Dookie and their other earlier albums. 

International Superhits! included many tracks that were at the time, highlights of the band’s career, but would now not be widely known by a listening audience such as “J.A.R.”, and “Stuck With Me”, as well as two singles exclusive to the album, “Maria”, and “Poprocks and Coke”.

The whole compilation album doesn’t just focus on the band’s chart toppers up to that point. The focus and feel of the record seems to aim to capture Green Day’s coming of age soft punk vibe. “Minority” being the classic ‘I won’t do what you want’ punk anthem, and “Redundant” showing the helpless and vulnerable side of the punk rockers. It’s sweet but it’s edgy, a trademark that’s become typical and familiar of all of frontman Billie Joe Armstrong’s lyrics, and honestly, it feels like a swan song. Listening through, you can almost feel that they thought this was it. This album was their youth, and they were saying goodbye. 

This album was my youth, too. International Superhits! was the first or second piece of music media that I actually owned (the other being Dookie on cassette), a gift from my mother. I was, I think, in second grade when it came into my possession. I wore that thing out. It was one of those albums I could listen to all the way down, over and over and over again. It’s the album that made me want to play guitar.  And yes, it was a greatest hits record. But it was the essence of Green Day up to that point. 

As the band followed up International Superhits! with Shenanigans, an album of b-sides and rarities, in 2002, speculation that the band was finished making new music began to swirl around the punk and rock communities. 

Then, their Phoenix flame and rebirth: American Idiot. 

Three short years after releasing their (first) greatest hits album, Green Day would completely reinvent their sound, and enjoy more success than they ever had previously. Released in the midst of a Bush era war torn America, American Idiot was a dissenting voice in a sea of pro-American patriotism in art and music. It was loud, it was angry, it was raw, and it was divisive. And it was wildly popular. 

Green Day continues to enjoy cultural relevance to date, with a new album (Father of All Motherfuckers), a supposed secret side project (see The Network), and a world tour with Weezer and Fall Out Boy they recently embarked on. Twenty years post their first hits album, Green Day continues to create hits, and International Superhits! remains a timeless and relevant punk rock classic. 

Interview with Wristmeetrazor at Chain Reaction

Wristmeetrazor were a band I discovered earlier this year through an email form alternative press highlighting their new single “Last Tango In Paris”, I usually do not pay much attention to their now spam email characteristics, but for once they proved me wrong and gave what I consider one of the best breakout bands this year.

Coming out with their sophomore album Replica Of A Strange Love back in June, they’re now doing a proper tour to showcase it. You can checkout my full album review HERE.

With only one California date and being a sold-out show at Orange County’s iconic Chain Reaction in Anaheim, CA, there was no way I would miss catching this hidden hardcore gem. From discussing their new album, favorite tracks to play, first day on tour, we dive into it all, and …….. even announcing their newest member of the band, Elaine, taking the reins in bass as frontman Justin Fornof exclusively handles vocals now.

They are on tour with Seeyouspacecowboy currently and doing a 7 week long tour, be sure to catch them in venue near you, and be ready to throw down in the mosh pit, as their breakdowns are heavy and vocals completely demonic.

Multi Ultra Release Riffy New Single 'Uptight'

Remember when the radio stations were all playing that upbeat, edgy, rock pop that produced such earworms as “3am” by Matchbox 20 and “Slide” by The Goo Goo Dolls? There was this era from the late 90s through the early 2000s that the airwaves were saturated with a sharp, saccharine edge. Songs like this dominate my winter playlists (anything to push back that nasty, sniffly, seasonal depression, right?) 

Multi-Ultra’s latest single, “Uptight” fits right into this category. 

“Uptight” is riffy right out of the gate, with a sweet infectious melody that is bright and high energy. Think Neon Trees or the Killers. It’s right in there. It rides the pop/rock line flawlessly, incorporating a retro flair that gives the single a warm, welcoming vibe. It’s like auditory comfort food for early 2000’s alt kids. 

Give ‘em some indie alt pop! Bitches love indie alt pop! (It’s me, I’m bitches.)

Maybe the song feels so natural and comfortable because it is.

This isn’t Muti-Ultra’s first rodeo.

The core of Multi-Ultra is Derrick Wesley and Nolan Brown, and the pair are no strangers to working together. Fan’s of the duo’s earlier project Sweet Fever should immediately recognize Wesley’s powerhouse pop vocals. The explosive kinetic energy is certainly something they’ve carried over from that project, and the aural lineage is easy to track in “Uptight”. Nolan and Derrick have been putting in the work together for a while now, and that devotion to the craft shines through in “Uptight.”

If your shoulders are tense, your coworkers suck, or you’re just having an outright “no bones day (or week or month or even year) “ dime out your stereo and throw on “Uptight”. It might just un-grumpify your day. 

FOLLOW MULTI ULTRA

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Review: Ruen Brothers Take Us Through the Decades with ULTRAMODERN

Last month, retro-modern genre-defying duo Ruen Brothers released their sophomore album, ULTRAMODERN, and “ultramodern” couldn’t be a more perfect way to title it. It reminds me of the 50s and its obsession with the future, and that’s exactly how it listens. Ruen Brothers have mastered modernizing the past, but this record accomplishes that in such a unique way from their previous releases. 

Each track is perfectly placed and every instrument and vocal track is expertly combined to create a remarkable production. It’s a cinematic experience, and that makes perfect sense; Ruen Brothers have been known to dabble in film scores. It is truly a phenomenal record from front to back, and I think it’s one of the best releases to come out of 2021. Go turn it on and follow along as I take you track-by-track. 

“The Storm in You”: 

This is a perfect album opener; it eases you in. It doesn’t immediately open the record guns-a-blazin – it starts off mellow and builds up to its big, cinematic moments, which I love. Sonically, the song itself resembles a storm - the chorus is heavy in all the best ways, mimicking the brunt of the storm. The verses carry on with that theme, verse one functioning as the build-up and verse two as the eye, with the outro as the aftermath. 

And of course Henry’s voice shines immediately, showing off just a taste of his range, I feel his lower register shines especially here. This track reels you in, grabbing your attention and fully immersing you into the world of ULTRAMODERN. 

“San Diego Nights”:

One thing about this song that I’ll never stop talking about is how it opens with the sound of rain, continuing the story from the previous track and making an already beautiful intro that much more so. I find this track to be incredibly addicting, laden with haunting chord progressions and chillingly beautiful harmonies (perhaps the two easiest ways for musicians to win my heart). This is definitely a competitor for my favorite song off the record – I can’t get this one off of repeat. 

“Up in California”: 

Ruen Brothers make what I would consider their surf rock debut with this one, it feels like the Beach Boys meets The Ventures meets The Rivieras, but sent to the 2020s; a 60s surf rock banger sent through a time machine if you will. It evokes those sweet, hot summer months, it’s fun, it’s undeniably catchy – how could you ask for more?

“Flying Cars”:

“Flying Cars” feels so different from anything Ruen Brothers have done before, and even a bit different from everything else on the record, but it still feels like it fits in. The verses remind me of that classic early 2010s pop/rock sound, but if they were being produced in the 50s. The concept of flying cars is so fitting with their vibe, and despite the modernity of this one sonically, it too feels like a classic Ruen Brothers throwback jam. I think this track surprised me the most, but in the best way – I find myself continuously going back to this one. 

“Cookies & Cream”:

I am fascinated by the placement of this track – it gives ULTRAMODERN a concept album feel. “Flying Cars” ends with the phrase “be with me,” and this track opens with that exact same line. That couldn’t have been coincidence, I’m convinced, and I can’t get over how clever that is. 

No track better explores the decade-defying range of Ruen Brothers than this one - I swear this track takes you through 3 different genres in a 3-minute package. I get 60s surf rock, 80s synth pop, and modern-day rock – a combination I never knew I needed. This is by far one of my favorite tracks Ruen Brothers have ever released. It’s too catchy for its own good. 

“Saving Me, Saving You”:

If you told me you’d never heard of Ruen Brothers, this is the track I’d play to introduce you to their sound. Henry’s vocals are at the forefront here with no room for mistake (don’t worry, he doesn’t make any), Rupert’s guitar work is phenomenal as always, and the overall sound of this track is hypnotizing. 

In terms of production, I think Ruen Brothers shine especially on this track. The overall sound is so crystal clear and everything is placed so brilliantly. Sonically, I’m obsessed with how all the pieces came together with this one. 

“Alone”: 

In the midst of a fast-paced rock ‘n’ roll record, we find a heartbreaking ballad that shifts the overall vibe of the record to give the listener a devastating cool down. Accompanied by a simple guitar for the majority of its 3 minutes, with a piano and percussion climax in its final 45 seconds, Henry’s vocals shine here more than on any other track – his lower register reminds me of Orville Peck on this track so much, and I love it, but his higher register is Henry Stansall in his purest form.  

The way he delivers every line feels so authentic and devastating – it’s like you’re living through this heartbreak yourself. It’s simple, but the song demands it, and the simplicity of the first two minutes only makes the big moment toward the end that much more impactful. 

“A Million Things”: 

To bring the mood back up after that heartbreaking ballad, “A Million Things” busts in strong, catchy, and addicting as anything. The bridge into Rupert’s solo back into the chorus is by far my favorite part of the song. One of my favorite things about Ruen Brothers is their unique use of chords – their songs are always interesting and addicting, and this song is no exception. And of course, Rupert can truly do no wrong with his guitar in hand. 

“Takin’ It Easy”: 

This might be the most fun track on the album; it has to be listened to loud – it’s the only way. There’s some spoken-word incorporated in the pre-chorus that reminds me of a robot – keeping in line with the “ultramodern” theme. I’d smoke this song if I could; it’s fast, it’s catchy, it’ll get stuck in your head for hours on end, and I promise you won’t be mad about it. 

“Takin’ It Easy (Ru Demo Take)”: 

To a listener without prior knowledge of the record, Ruen Brothers made what appears to be an interesting decision in their track listing with this one – it’s the same song again. But…it’s not, at the same time? This version of “Takin’ It Easy” feels so different from the final product version that it’s almost like listening to 2 different songs. With this demo track, we see how similar these two brothers sound, and we get a completely different taste of this catchy little track.

It’s fun to hear them back to back and pick up on all the little ways the song changed from demo to final product, and it’s so exciting getting to hear from Rupert – I can only hope his vocals will start making more of a front-and-center appearance on future Ruen Brothers releases. 

“Topanga Canyon”: 

What a way to end a record. A truly magical song. This is by far one of my top 5 favorite Ruen Brothers songs, and it just might be my favorite off of this record. There’s strings on it, what more can I say? There’s nothing more beautiful than a track with strings. The chorus has a haunting quality to it that resolves so beautifully, and there’s a twinkle sound that brings an element of sonic magic to the track. It makes me feel nostalgic for the real Topanga Canyon, and I’ve never been there. 

I said this record feels very cinematic, and this track here is one of the most cinematic on the record – I can imagine so many visual elements to go along with this, and I can only hope that one day this song finds its rightful place in a film. I think this one will be one of my all-time favorites for life, and I don’t think Ruen Brothers could have ended this record more perfectly than with this one. 

ULTRAMODERN is a sonic journey, and it’s one of my favorite releases to come out of 2021. If where retro meets modern is where you find yourself, this is a record you absolutely cannot miss. Go stream this thing and let Ruen Brothers take you on an adventure through music’s greatest decades. 

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On The Road: Breaking In A Sequence

Breaking In A Sequence are a hard rock band coming out of Orange County California, featuring original drummer of Korn, David Silveria.

For their first tour of 2021 and second tour ever, I hopped on the road with them to document what it’s like to be on tour and even play a few shows with them.

Welcome to On The Road: Breaking In A Sequence

INTERVIEW: Heartsick at 1720, Los Angeles

Back in July, frontman Alfonso from local Michigan metal core band, Heartsick, and I had an awesome pre-set interview at the first annual Upheaval Fest in Grand Rapids, Michigan. Now fresh on his first U.S. tour of 2021 supporting CombiChrist, we crossed paths again on their stop at 1720 in Los Angeles, California. We discussed being back on the road, handling Covid rules with each venue, some of their favorite stops so far, and more. Be sure to checkout their lates EP Cinco on app streaming platforms now.