Carve Away, I Still Remain – Handed to the Thousands

This review originally appeared on LamplighterNJ.com in February 2014

The guys in Handed to the Thousands understand heavy. I don’t say this because their latest effort, Carve Away, I Still Remain, is bone-rumblin’, knock-your-pants-off heavy. I say this because it isn’t. The truth is that you have to know the rules in order to break them. Handed to the Thousands have clearly studied the excessively de-tuned breakdowns and incomprehensibly guttural vocals of their melodic hardcore contemporaries. Studied, and then rejected. What results is a mature and balanced eight-song EP that will both surprise and delight those familiar with the more aggressive genres, without giving in to stale clichés. Continue reading

Empathy – Duo

This review originally appeared on LamplighterNJ.com in September 2013

Look. Hip-hop has devolved into a circus of mildly talented rappers with over-inflated egos giving shout-outs to themselves and their earnings. Up-and-coming acts often make the lyrical mistake of either following in those footsteps before they’ve actually earned anything to brag about or running in the opposite direction with deep, philosophical bars about social injustice. Fortunately, seventeen-year-old Dillon Carmichael, operating under the stage name Duo, has released Empathy, an album for those hip-hop fans who neither want to think too little nor too much. Continue reading

Why You Should Be Upset Trees Above Mandalay Is No Longer Making Music

This feature originally appeared on LamplighterNJ.com in September 2013

After nearly seven years, pop-rock veterans Trees Above Mandalay decided that they will no longer be making music. So what, right? Hasn’t the New Jersey alternative music scene always been a revolving door for its local acts? They’ll be replaced soon enough, won’t they? Au contraire, my dear reader. Bands of Trees Above Mandalay’s caliber are few and far between. I would even go so far as to say that they were in a class of their own during their tenure. Now that class has graduated, and the freshman prospects don’t look so great. So you’ll understand how disappointed I was when I stood in the barely quarter-full room at Mexicali Live on the night of Trees Above Mandalay’s farewell show. Why weren’t more people upset about this? Why weren’t more of us there to say goodbye to the band we all once thought would make it big? Continue reading

We’ll Grow Out of This – Modern Chemistry

This review originally appeared on LamplighterNJ.com in June 2013

If I were a less capable writer, I’d begin this review with some trite science terminology that tells you how Modern Chemistry concocted a seamless amalgam of pop punk and hard rock with their latest, We’ll Grow Out of This. Don’t worry; I won’t stoop to that level. However, I will tell you that this six-song EP displays a nearly matchless understanding of the delicate balance between aggression and restraint. Continue reading

Life, Love and the Meaning Of: Part I – Here’s To Starting Over

This review originally appeared in Issue 03 of Lamplighter Magazine in December 2012 and subsequently on LamplighterNJ.com in May 2013

Refreshingly vintage. It almost stings using this phrase to describe Here’s To Starting Over’s new three-track EP, Life, Love, and the Meaning Of: Part I, because what it really means is that many of the artists we’ve grown up listening to are on their way out of relevance in contemporary culture, if not already long gone. But the memories that this record’s tone will immediately pull from the depths of your high school subconscious make it undeniably vintage, like the nostalgia of dusting off the first jewel-cased CD you ever bought. Continue reading

Celestial Bodies As Pioneers in Space and Art

This feature originally appeared in Issue 03 of Lamplighter Magazine in December 2012 and subsequently on LamplighterNJ.com in March 2013

The date is July 31st, 2012. Joseph Kenyon waits inside his Linden, New Jersey home, watching the digital clock on his computer. Midnight arrives, carrying August with it. He clicks softly. The screen refreshes, revealing a music player loaded with the songs he has been writing and recording for the past month, replacing the batch of songs he released on July 1st, which in turn had replaced another batch of songs from a June 1st release. Surrounding that ever-changing music player is the art that Michal Brodka has been preparing for the past month, also replacing the art from the month before, which had already replaced the art from the month before that. This is not a pair of collaborators with creative A.D.D. or collective, monthly self-doubt. This is simply the August installment of Celestial Bodies. Continue reading

State of the Scene: On Dancing

This op-ed originally appeared in Issue 01 of Lamplighter Magazine in March 2012 and subsequently on LamplighterNJ.com in August 2012

Hardcore dancing. Now, before you hand me the Pulitzer for that opening statement, let me get to the rest of the article. For those unfamiliar with the term, hardcore dancing is the name for the seemingly random kicking, punching, and flailing of limbs that can be seen in the “pit,” a name for the circular opening that often forms in the middle of the crowd at a hardcore show for the purpose of hardcore dancing. Not to be confused with “moshing” or “push pits,” which consist of a group of fans violently pushing each other around in a big circle, hardcore dancing can almost be thought of as a form of interpretive dance, with participants utilizing their own combinations of windmills, two steps, kicks, spins, punches, or flips to express anger or excitement during a song. However, like “The Wall of Death,” it’s a topic that tends to divide crowds. You either think hardcore dancing is the bee’s knees, or you prefer to enjoy a show from a stationary position, in which case hardcore dancers are probably a nuisance to your viewing experience. Whatever your stance, hardcore dancing is a part of the scene, and it deserves an honest examination of the pros and cons. It’s a legitimate form of expression, but, in some cases, potentially dangerous, detrimental to the very music it celebrates. All of which begs the question: is hardcore dancing necessary? Continue reading