Rumored Nights Press

State Champs has always been known as a band that produces fun, care-free pop-punk tunes. This formula stands its ground once more with this release, while shaking things up by adding catchier choruses and gritter, harder-hitting instrumentals.

Packing a whopping 13 new tracks, Living Proof is an album full of powerful summer-time anthems, uplifting ballads, and a few nods to the band’s older material.

The production on Living Proof is a mixed bag but not in the way you’re thinking. Three central producers worked on the mixing of the album, with the likes of John Feldmann (known for working with bands such as Good Charlotte, Goldfinger, and 5 Seconds of Summer), Kyle Black (who previously produced State Champs’ previous album Around the World and Back) and Mike Green (known for working with the likes of Paramore, Neck Deep, Pierce the Veil, among a long list of others). The need for the three different producers helps bring the variety in the record to life. The songs produced by John Feldmann such as “Dead and Gone” are catchy, summer-sounding tracks that can be compared to the work of bands like All Time Low and 5 Seconds of Summer. Mike Green and Kyle Black divided the production of a majority of the album together and produced tracks that sound reminiscent of older State Champs material.

Relationship issues, overcoming obstacles, and anger help fuel the flames of this record. Living Proof is an album one should crank up loud and be prepared to jam to. Tracks such as “Criminal,” “Frozen,” and “Safe Haven” are meant to be blared, with their intense choruses and blistering instrumentals that will stick in your mind. Things do take a breather and get slowed down for a couple tracks, such as “The Fix Up” and “Time Machine (featuring Blink-182’s Mark Hoppus).” These tracks are a breath of fresh air and prove that State Champs can pull off slower ballads along with their “heavier” hits.

Swift is ringleader once more, giving fans a high energy, high intensity performance for the ages. If the Reputation tour has not already set the standard for pop artists in the 21st century, it should be.

First, the staging of the show was innovative. Swift’s stage consisted of a LED video screen in an X shaped pattern that made the middle of the stadium floor feel like they were right in the middle of the action, but that’s not all. In addition to the giant X stage, two mini stages were erected in the back sections of the stadium floor, providing the crowd a glimpse of Taylor Swift up close and personal. These three stages were supplemented by a floating stage used for “Delicate” that brought Swift around a section of the 200 level. Swift has always cared for her fans and through this staging, she wanted to see as many of them as she could.

Speaking of seeing the fans, we need to talk about the lighting, videos, and effects used on this tour. In one of her monologues interspersed throughout the performance, Swift stated that she wanted to see every one of her fans during the performance so she equipped them with flashing light bracelets. These bracelets served as a fantastic light show through the whole show, bouncing in time with the rhythm and beats of Swift’s music. In addition to these lights, Swift harnessed fire, shot out newspaper confetti, and was surrounded by snakes that appeared from the depths of the stage. Finally, the video screens and videos were one of the most notable parts of the show as views of the performance were married with snakes, flying text, and overlays that added a touch of star power to the night.

Now that the lights, effects, and staging have been discussed, let’s get into the actual performance that night. Taylor Swift’s performance was electric. As the song “Bad Reputation” by Joan Jett and the Blackhearts faded out and the whole stadium went black, the crowd screamed. It was the night everyone was waiting for, the night everyone there thought might not come. The video screens are now playing a concaphany of news reporters talking about Swift mixed with a slow pan up of Swift in a white room. The reporters fixate on Swift’s reputation, Swift turns and smirks, and the video cuts out and the chilling call of “Let the games begin” fills the stadium. Swift cockily asks “Are you ready for it?” and the crowd goes WILD and so does the stage, spitting out columns of smoke. Swift comes on stage, guns ablazing and utterly slays the performance from start to finish.

Taylor Swift is a master of her craft at the height of her career and it shows. She seemingly breezes through “..Ready for It?” and “I Did Something Bad” before taking a moment to talk to the crowd about how thrilled she is to be with us all. She thanks the crowd for showing up that night and being gorgeous by segueing into “Gorgeous”.  Next, she treats the crowd to a mashup of three of her older hits: “Style”, “Love Story” and “You Belong With Me”. In “Look What You Made Me Do”, we get our first celebrity cameo of the night: Tiffany Haddish, as she explains exactly why the Old Taylor can’t come to the phone right now. Spoiler alert. She’s dead. Our second celebrity cameo of the night came four songs later with “Shake It Off” as Taylor is joined on one of the side stages by Charli XCX and Camila Cabello, her opening acts. For her next song, “Dancing With Our Hands Tied”, Swift lets us into her songwriting process with a stripped down acoustic version.

As Taylor is halfway through the night, she treats the crowd to her roots and performs “Our Song”. After, she turns into the media’s version of herself to indulge us all in “Blank Space”, performing as the vapid, boy obsessed girl the media loves to paint her to be. When the song ends, Taylor takes a small break to add another layer to her costume, a gauzy black wrap dress as she floats into “Dress” on the other small stage on the stadium floor. As Swift struts back to the main stage, the video walls fracture outwards and the stadium lights up red. The staging mirrors the explosive mashup of “Bad Blood” and “Should Have Said No” as Swift sings about two differing relationships gone wrong. Almost as an apology to the audience for the explosive nature of the previous mashup, she pleads to the crowd in “Don’t Blame Me”. The next song slows down the show as Taylor sits on a piano and speaks on growing up with her fans before launching into an emotional mashup of “Long Live” and “New Year’s Day”. The emotions continue through the next two songs of “Getaway Car” and “Call It What You Want”. However, Taylor ends things with an extravagant party Gatsby would be jealous of with “This Is Why We Can’t Have Nice Things”.

For those who don’t know who Mike Shinoda is, he has always been the rapper, back-up singer, and song writer in the band Linkin Park. While he certainly can do all those things, this record reveals his true potential and truly lets it shine bright.

Post Traumatic is a shift for Shinoda’s career. While this isn’t technically his first solo record (he had released a few records under the moniker Fort Minor), it is the first record where he referred to by his legal name. To the long-time fans of Fort Minor and Linkin Park, rest assured, this record is unique, yet familiar at the same time.

This record was written almost immediately after the tragic passing of Linkin Park frontman Chester Bennington. Due to this, Shinoda began to mend the pain by creating these songs as a way of coping. The record’s second track “Over Again” describes the pain and suffering Shinoda must’ve felt throughout the process of creating this record and coping with the loss of his friend.

The emotions showcased in the 16 tracks on this record display feelings of guilt, loss, anger, happiness, self-consciousness, and more. There should be at least one track that can relate to the listener in one way or another.

While every album has their set of songs that stand out, each of the 16 tracks shines bright in their own way. Wanting a happier sounding song? “Crossing a Line” is the song for you. You want a hard-hitting rap track? “I.O.U.” is as hard as it gets. Post Traumatic has something for everyone and that is only part of what makes it such a intriguing record.

Mike Shinoda has been through a lot this past year. Losing something or someone you hold dear to you is always incredibly tough. Shinoda decided to turn that grief and anguish into a diary of his struggles molded into a full-fledged release. Post Traumatic is an ode to those who are feeling down on their luck, those who feel like they aren’t good enough, those who are in a sunken place, or those who just need something to cope with.

The Glaswegian electronic pop trio’s meteoric rise took a pause at the end of 2016 - upon concluding their campaign for acclaimed sophomore effort Every Open Eye - to take a breather, and  of course the time needed to craft their next slice of glossy synthpop.

Swapping their home studio in the depths of Glasgow’s West End for the glitz of Greg Kurstin’s LA studio and ‘Alucard 2.0’ in New York, CHVRCHES have thrown the DIY approach out of the window for this album, instead employing Kurstin to handle most of the production duties for Love is Dead. His influence can be heard from the intense opening seconds of ‘Graffiti’ to the distant, washed-out ending of ‘Wonderland’ - the rich, nostalgic sound of their debut album The Bones of What You Believe is more or less absent, in a favour of a more crystalline, super clean pop edge. It’s jarring and vulnerable at points, but no less explosive.

Given CHVRCHES’ more subtle sonic evolution between Bones and Every Open Eye, the more abrasive and far-reaching tone that Love is Dead takes is a more than welcome change of pace for the band. The typical CHVRCHES toolkit - analog keyboards, processed vocal samples and frontwoman Lauren Mayberry’s direct, encompassing vocals - has been expanded, to include much more ‘live’ instrumentation than on their previous releases. Whilst the thudding electronic drum machines and chiming synth riffs are still front and centre, the extra elements in play give rise to the theory of CHVRCHES being much more of a band than just a studio production exercise. Many of the tracks on Love is Dead benefit as a result - ‘Forever’ is an album cut that is brought to life by a joyous mid-song guitar solo, highlighting the multi-instrumentalist talents of band members Iain Cook and Martin Doherty.

In spite of CHVRCHES’ somewhat outspoken approach to the political and societal landscape around them - and the obviously seismic shift in this landscape since their last record - Love is Dead’s subtext is remarkably subtle. It’s only on ‘Graves’ that Mayberry truly lets rip, referencing the Grenfell Tower tragedy and the European migrant crisis - ‘They’re leaving bodies in stairwells, and washing up on the shore’ without hubris. Perhaps the indirectness of Mayberry’s lyrics throughout is much more of an effective thought provoker, as she addresses themes of vulnerability (Get Out), organised religion (Deliverance, God’s Plan) and personal experience of social media (Heaven/Hell).

Some long time CHVRCHES fans will undoubtedly enjoy these moments of insightfulness more than the basic pop repetition employed in many of the hooks, which on occasion do feel forced - the clinically simple chorus of ‘Get Out’ pales in comparison to the dreamy ‘You were a kaleidoscope’ refrain that follows, while the outstanding instrumental that backs ‘Never Say Die’ is partially let down by the overly monotonous lyrical content. The Steve Mac-produced ‘Miracle’ and ‘My Enemy’ do fare better (at least for the singles), even if the latter’s cameo from The National’s Matt Berninger comes across as rather bland. That being said, there is enough typically super-sized refrains in the mix to keep things interesting - as proven by ‘Clearest Blue’ from their previous record, this is where CHVRCHES are at their finest.

Grammy and Tony nominated (Yes, you read that right!) artist Panic! At The Disco has recently released their third single “High Hopes” from their upcoming album, Pray For The Wicked. Pray For The Wicked is the band’s sixth album and slated for release on June 22nd. The band’s dedicated fan base is ready for new music and a new tour. Sinners, get ready. It looks like Pray For The Wicked is going to be another banger!

Upon the release of “High Hopes”, front-man Brendon Urie stated that he “spent too long not setting my expectations high enough, worried about how it felt to fail.” Urie does not have to worry with this new single, he definitely delivered with “High Hopes”. This upbeat anthem combines Brendon’s infectious energy, an amazing horn section and powerful message about positivity. “High Hopes” makes you want to turn the volume all the way up, bob your head, and dance and sing your heart out! Isn’t that the best part of a great song?

Urie sings “stay up on that rise, stay up on that rise and never come down”. After listening to this song (many times on repeat), I don’t want to come down from the great high that I get when I listen to this song.

We hope you enjoyed the interview and photos! If you want to see more from Holander and listen to her music, check out any of these links below!

We hope you enjoyed the interview and photos! If you want to see more of Frida’s work and listen to her music, check out any of these links below!