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Inhaler’s new single “Your House” is opening the door to a brand-new era. Released ahead of their forthcoming album Open Wide, the track gives fans a sneak peek of what they can expect from the band’s latest work. And yes, for the record, I was a fan before this album dropped.

Inhaler 'Your House' album art

If you’re unfamiliar with Inhaler, allow me to introduce you to the wonderful world you’ve been missing. Inhaler is an alternative and sometimes indie rock band based in Dublin, Ireland. Formed in 2012, the group consists of lead singer Elijah Hewson, lead guitarist Josh Jenkinson, bassist Robert Keating, and drummer Ryan McMahon. A surprising detail for some fans? The band has a hint of nepotism. Gasp!

Our charismatic lead singer, Elijah Hewson, is the son of none other than Bono (yes, the Bono, lead singer of U2). While I tend to be skeptical of “nepo babies,” Hewson stands out. He’s earned his place and has managed to separate his success from his father’s legacy.

“Your House” kicks off with a head-banging riff, backed by the steady beat of the drums. Soon, Hewson’s voice joins the melody as he sings, “Right around six or something / There I was / Barefoot on the street / Where I thought I’d / Float your door.”

The song immediately conveys a sense of longing and unease. The mood is laced with anticipation and paranoia, created by Hewson’s emotive delivery and the persistent use of minor chords. It’s a track that seems to explore the perspective of someone unwilling—or unable—to let go, despite knowing they should.

The chorus furthers this narrative with lines like, “I’m going nowhere you won’t find me / Maybe I sold love / For what it’s worth on the street / Saying ‘Oh-oh love’ / There ain’t a sharp enough knife / To cut me out of your life / I’m going to your house tonight.” If it weren’t Elijah Hewson delivering these lyrics, I’d probably be terrified.

As the song progresses, the second chorus takes a darker turn. The line “I’m going to your house tonight” shifts to “Who’s going to your house tonight”—delivered in a more threatening tone, hinting at possessiveness. You all heard it too, right? Thank goodness this man is good-looking.

The bridge introduces a new sonic texture, veering into psychedelic territory. Echoing vocals, swelling guitars, and an overall hazy atmosphere evoke the feeling of a protagonist spiraling into obsession.

As the song builds toward its conclusion, a choir is added to the mix. While their inclusion feels slightly misplaced, they sound undeniably beautiful.

Overall, I loved what Inhaler has accomplished with “Your House.” The angsty desperation layered throughout the track is an exciting preview of what’s to come on Open Wide. Here’s hoping the new music comes with tour dates in Texas—not that I’d attend, because the thought of being in the same room as them terrifies me. Using Britney Broski’s reverse manifestation method, I definitely don’t want to meet them.

I have been wanting to enjoy the atmosphere and experiences of ACL since I discovered my love for live music. Growing up in San Antonio, it was easy to make a quick trip to Austin for the weekend. Unfortunately, I never brought myself to buy those precious wristbands.

It wasn’t until this year, when my bank account had finally recovered from the multiple hits it took from previous concerts, that I had my opportunity to buy a one-day wristband. It was a no-brainer for my cousin and I to buy Sunday wristbands because, duh, Chappell Roan and Tyler, the Creator were performing on the same night. Sign us up!

(Photos provided by Elliana Guardado)

The anticipation of walking from our parked car— which I highly recommend paying in advance for— to Zilker Park was a warm-up to the heat and pain our feet would endure the whole day. Once you enter, the heat and pain don’t seem to matter anymore. It’s like going to Disneyland for the first time, but with multiple stages and the smell of weed everywhere.

Our first stop was at the T-Mobile stage to catch the remaining minutes of Malcom Todd’s set. Neither my cousin nor I had heard much of his discography, but what really caught our attention was his rendition of the “iCarly” theme song. With that, he gained two loyal fans.

After some sitting and water breaks, we made our way to the Honda stage to settle in for Orville Peck. Getting there a bit early allowed us to watch the end of MisterWives. Oh girl, that woman is a ball of energy. Jumping around in her sparkly outfit with the sun directly on her was enough for me to stop complaining about my exhaustion. After she finished, the crowd started to pour out, and my cousin and I got a spot on the barricade for Orville Peck.

Orville Peck was the beginning of the ideal experience we imagined ACL would bring. Performing songs like “Dead of Night” and “Cowboys Are Frequently Secretly Fond of Each Other” had both of us swaying to his deep, raspy voice. Peck, being one of the first artists we were fans of, really made this experience special. We thought seeing him was the most exciting part—oh, do I have a story for you.

Where we were standing was near the entrance to the VIP section. Here we are, having the time of our lives listening to Peck sing his heart out. Guess who we see? None other than Jared Padalecki making his way past us to the VIP section. For those who don’t know, he is best known for his role as Dean from "Gilmore Girls" or Sam from "Supernatural." Like anyone would, I freaked out when we got confirmation that it was really him by catching a glimpse of his side profile. We had to prove that it was him and not just some really tall dude with great hair. Thinking that catching a glimpse of him was exciting, y’all, he came up and took a picture with the girl right next to us. He seemed like he was in a rush, so my cousin and I didn’t want to bother him again, but I unknowingly touched his arm. I was unaware I did this until later, when I was in disbelief that I had.

During this time, the sun had set a bit and was starting to show off its beauty. As we all know from experience, the Texas sun doesn’t let up, and we were still dying.

With a quick food break, it was already time to make our way to the American Express stage to snag a spot for Chappell Roan’s upcoming set. Even though we couldn’t see the stage, we had a view of the screens, and that is all that matters. Her stage presence was unbelievable. Roan’s breathtaking vocals performing some of her hit songs like “Pink Pony Club” and “My Kink Is Karma” made all the difference. My life is now complete thanks to being able to do the “Hot to Go” dance.

If anyone is familiar with the energy Tyler, the Creator brings to his sets, you know how this went down. Witty remarks, high energy, and some creepy facial expressions filled his entire time on stage. This was my favorite set of the day as he performed popular songs like “See You Again” and “New Magic Wand.” In his words at the end of his set, “For all you rich people, I will see you next weekend,” just confirms another reason why I envy the rich.

Since this was our first time at the festival, we had no expectations. As far as we were concerned from the numerous TikTok videos, the only thing we had to worry about was the dust and the recommendation not to wear cowboy boots. Oh, how I wish I had listened to you all about the dust and boots! My feet were blistered for days after, and three days following the festival, I caught the ACL plague. Nonetheless, I had an amazing time. I am so ready to buy my wristband for next year. This is the start of a joyous addiction.

(Photos provided by Elliana Guardado)

BRAT summer has bled into autumn with Charli xcx’s latest installment of the era, Brat and it's completely different but also still brat. Aitchinson (the non-PARTYGIRL surname of the Essex musician) has created a sprawling double-sided remix album with 18 features, merging indie legends and modern pop icons with upcoming digital stars. As the name suggests, the new remix album takes the original album and alters it almost beyond recognition. Still, each track maintains the album’s themes of success, fear of failing, and isolation. 

However, these changes are not wholly successful; but the album is raw, adventurous, and still so BRAT.

Almost every track on the album features a complete re-imagining of the source material, which can stand as their own piece of creation against the originals. They frequently take a specific section of the original track and base the remix on this snippet, expanding upon it in new and unforeseen ways. 

The most successful of these attempts (in the writer’s opinion) is the “Rewind” remix with Bladee. In other tracks where the lyrics “I must confess I’m under stress / The mirror leaves me unimpressed” sung by the Swedish rapper would elicit a laugh, I am drawn in by his earnest approach to the topic of fame. The song maintains the earworm nature of the original and continues the heavy discussion of the weight success places on artists and its transformative nature. 

The “So I” remix is also an incredible testament to the power of Charli xcx, SOPHIE, memory, and love. What was already one of the most touching tributes to the late electronic pioneer was transformed into a heartbreaking and inspiring whirlwind of sound. To hear Aitchinson recount her best memories with SOPHIE is one of the greatest gifts I have ever received as a long-time fan of both. This is additionally paired production by A.G. Cook and Aitchinson incorporates SOPHIE’s previous work and concludes with a sample of the unreleased track “HEAV3N SUSPENDED” – one of the last pieces of work SOPHIE showcased before her passing. 

These tracks underline the greatest strength of Brat and…, which is its ability to heighten the emotions of BRAT to new extremes. To echo Shaad D’Souza in her review, the album's guests are all celebrity advocates illustrating the pervasiveness of loneliness. Beautiful moments are created with the raw performances of Lorde, Caroline Polachek, Matty Healy, Bon Iver, and the Japanese House, with each artist showing vulnerability.

The only time it proves to be clunky is the performance of The Strokes’ Julian Casablancas on the Mean girls remix. While the original did not provide the most substantive material for Casablancas to work with – it is still sad to see the infectious piano and instrumental butchered with a sample of “Owner of a Lonely Heart” by Yes. Casablancas muses on his failed marriage, and it reads less like creative expression as an outlet and more like being singled out at a family function by a drunk uncle. 

At other times, the album drops the need to shed its secrets and embraces full hedonism. As it was on the original album, tracks like “B2b featuring Tinashe”, “365 featuring Shygirl” and “Club classics featuring bbtrickz” serve as foils to the songs highlighting the downside of fame. Yes, partying is fun and it's also pretty great being famous and hot. Aitchinson and her crew should celebrate, we all need releases from the soul-crushing weight of living in our modern world.

Laissez les bons temps rouler! Vive le BRAT!

As Aitchinson mentioned in the early stages of the album’s rollout, BRAT is “closest in its ethos to Pop 2.” For new listeners of Charli xcx, Pop 2 was a mixtape that served as Aitchinson’s first major foray into experimental music. Like BRAT, it balanced partying, campy references, tears, cars, robots, and vulnerability – and it was anything but seamless. But, a lot of its charm came from its reckless and unabashed attempt to reinvent pop music. BRAT and its subsequent new versions are ambitious and continue to show Charlotte Aitchinson’s taste-making ability.

2024 has brought Charli xcx to new levels of fame that would’ve been incomprehensible even in 2022. This newfound exposure has not stifled her cult status, and she has proven that success has changed her – but not in a way that is detrimental to her career. It is evident that Aitchinson is not chasing TikTok hits, but her success on the platform can be a potential catalyst for greater taste in our brain-rotted generation. 

Quarters of Change at Scoot Inn on October 8, 2024

Last Sunday was a day that I had been waiting for what seemed like an eternity. I had found out that James Blake was going to go on tour for his new album this past summer, and I immediately knew I had to attend. I would have loved to see him while he was touring for his Overgrown album, but seeing him perform his equally emotional and vocally-haunting The Colour in Anything was going to be a very close second. I didn’t get to buy my tickets right when they became available — I actually bought them the day before the Austin concert — but nonetheless, I was so extremely excited to see one of my favorite musicians live. James Blake was on my bucket list for artists to see live before I die, and it was finally going to happen.

(Photo courtesy of austin-theater.com)

Fast forward to the night of the concert: my friend and I show up to ACL Moody Theater, super pumped, but at the same time, trying to keep our cool. I always forget how nice and relatively large this venue is, but it is always a pleasant surprise every time I go to this swanky downtown venue. Our seats weren’t near each other, but we managed to sneakily work our way together, “stealing” other people’s seats, ending up together in the balcony section. While we were sitting down, anxiously waiting for James to come on, hoping that no one shows up to claim the seats that were rightfully theirs, I looked around and studied the demographic of the people attending. Surprisingly, it is a crowd older than my age group. Then again, it’s not really that much of a surprise that this concert is catering to an older crowd. Not a lot of my friends from home like James Blake; they would always complain that he’s too boring and sounds like he’s crying all the time. I can see the appeal that this talented British musician has to the older crowd. It takes a certain level of emotional maturity in order to fully appreciate the sound that he creates. Suddenly, I’m quickly snapped back to reality as the lights begin to dim, signalling that the show is about to begin.

James Blake along with his two signature musicians, Rob McAndrews (guitars, samples) and Ben Assiter (drums), come out on stage, warmly welcomed by the crowd’s cheers and howls. They assume their position and start the show with “Always”, the second-to-last track on Blake’s recent album. This makes me particularly happy; I love his use of distorted vocals in the track, along with the sample of Frank Ocean (another intense love of mine). The show continues, and one thing that particularly stands out is the lighting aspect of the show. Throughout the entire concert, the lights were synchronized with the beats of the songs, which added a whole new layer to the concert. Sometimes it became borderline seizure-inducing, but overall it was very tastefully done. James played songs from his entire discography, from the hits “Life Round Here” and “Retrograde” from Overgrown, to “200 Press”, a song that he wrote and composed relatively early in his musical career. A standout performance during the concert was definitely the song “Measurements” during his encore. Before he began the song, he told the audience, “Everything we do here is live. No computers or anything.” He then urged the audience to be completely and utterly silent — which unfortunately did not last for too long — and managed to create all of the loops in the song right there, before the audience’s very eyes. This not only showed off his perfected skills in terms of timing and use of the equipment but also his beautifully emotional vocal range. This song was a perfect way to end the night, and although it was not one of my favorites before seeing it live, it definitely is now. While watching the show, you’re definitely loving it and soaking in every single moment. However, nothing compares to the post-concert feels. Seeing James Blake in the flesh and hearing his strong yet soothing voice with my own ears is something I could never fully take for granted in the moment, and from the moment I exited the venue to me, right now, in bed, writing this post, I have not stopped thinking of how thankful I am that I got to attend this concert. His performance just proved that he is the embodiment of pure, raw talent, and it was truly one that I will never forget as long as I live.

How many universes / am I alive and dead in? / A new one every second / the path of least resistance. -”Fourth of July, Philadelphia” – Cymbals Eat Guitars

There is something truly incredible about experiencing music. It is honestly the closest thing to magic on Earth; the way that we can fall in love with music is one of the purest forms of love. The Cymbals Eat Guitars show just served as a very real reminder of these truths.

To start, the first time I even heard Cymbals Eat Guitars was almost exactly a week before the show on the 25th. My good friend had sent me their album Pretty Years because he knows my music taste all too well, and honestly, it was love at first listen. I proceeded to listen to it pretty much nonstop for the next couple of days, and when I saw him next, my friend told me that they were playing on Sunday. I knew that the chances of my going were slim because I had so little cash, but I remained hopeful that I would get the chance to see them. Fast forward to the day of and my friend texted me saying that he and his friend had tickets — one of them was for me. I was so excited and I knew that it was going to be an amazing time.

(Photo courtesy of Cymbals Eat Guitars)

We arrived a little late to the first band, Wildhoney, a sonic force from Baltimore. They would get into these loops of sound and just go on for minutes jamming out. When talking to the lead singer after, she told us about the drama about how the guy who was their bassist that night had just flown in because their regular bassist could not play. So this dude, who totally held it down all night, had not ever met these people or played these songs until just a few hours before. Just a reminder of how amazing great musicians can be.

Next was the band Field Mouse, a great dream pop band with an incredible force of girl power as their head woman. I remember turning to my friend at some point during their set and saying, “I can’t tell if I wanna date her or if I wanna be her,” to which he responded, “Why not both?” And honestly, yeah. But I cannot compete with her actual partner, the frontman of Cymbals Eat Guitars. Honestly, though, he better watch his back, ‘cause I would die for her. Her vocal style was reminiscent of Belinda Carlisle, on top of thick rhythmic guitar and crisp drums. Overall, Field Mouse was a true gem.

The show really began for us, though, when Cymbals Eat Guitars started to play, resulting in my friends and me getting right up against the stage to take in the show as best as we could. They opened with the track “Finally,” the first song on their album Pretty Years, and immediately we knew this was going to be a memorable performance. The dominant energy that came from the frontman, Joe D’Agostino, was enough to get you moving and dancing. We all immediately started to get into the music, singing along, feeling everything we could. The next few songs were just a blur of singing and jamming: an experience only the best shows can provide.

There was one moment that stood out to me at the show. As they started to play a song I was unfamiliar with, I took a moment to take in my surroundings. While standing at the front of the stage with these three boys, who were enthralled with the music, I knew that there was something special about that instant. I could not hold back my smile. It felt like the only things that existed at that moment were us and the music. I also felt so much gratitude to the universe to be standing in between this band’s biggest fans, whose happiness and joy rubbed off on me.

Once the songs went back to the album Pretty Years, I was able to sing again. The crowning song for me had to be “Wish,” my favorite song from their album. With a powerful chorus as our anthem, we were all screaming at the top of our lungs. With the bass as my heartbeat and the drums kicking my stomach, I felt like I could fall over from exhaustion at any minute, and the only thing that was keeping me up was the way the guitar made my head feel lighter than air. I know not every word I sang was right, but being there and getting to let it all out was the most I could ever ask for.

After the show, we introduced ourselves to Joe, and he thanked us for getting so into his music. It always amazes me when the band members give fans recognition, because while they appreciate our joy, they are the ones responsible for it. We gave him our eternal thanks for a memorable night and for his amazing music and went on our way. When I finally got home, I took a minute to think about the events of the evening and came to only one conclusion: I was not going to be over Cymbals Eat Guitars for a while.

September 18th, 2015: Austin, TX -- AKA the day when Twin Peaks previously played a show in our city at Mohawk Austin. I had been eagerly, thirstily, waiting to see this band live again. Seeing this garage rock band from Chicago live is addicting. Having gotten ahold of a ticket to Levitation Fest 2016 last April, I was beyond ecstatic to see these guys play in Austin again.

UNTIL.

Tragically, Levitation Fest 2016 was cancelled due to inclement weather and the pop-up show Twin Peaks was playing sold out incredibly fast since last minute tickets were only $5. Believe me, I was on the ticket page hours before tickets went on sale. Even then, my browser was unable to live up to the task of quickly purchasing a TP ticket before they sold out.

FAST FORWARD.

September 20th, 2016: Austin, TX -- the day that Twin Peaks dudes came to Austin once more, was a day I had been waiting for since this past summer when their tour was announced and the day finally came.

After not having seen them for a YEAR, and as expected of a true fan, I got to the venue early and loyally waited in line outside of Mohawk Austin. Doors were at 6:30pm, and the dudes played around 9pm.

When doors finally opened, I happily made my way to the front right corner of the venue facing the stage because that is exactly where the love of my life, Clay Frankel (guitarist and vocals for TP), stands during their shows. Excited as sh!t, and gleeful as could be, I waited patiently for the bands to come onstage.

The opening bands did their job of getting the audience even more hyped about being at the show. Modern Vices, a 5 guy act from also Chicago, played an incredible, small set of songs and got the ball rolling for the night with their melodic tunes.

Seeing White Reaper, a garage band from Kentucky, perform live was similar to drinking a RedBull and having it immediately hit your bloodstream, causing insane energy in the crowd.

One of the best parts about attending a Twin Peaks show is the energy in the crowd, and a lot of it can be attributed to their great opening bands like Modern Vices and White Reaper.

By the time the dudes hit the stage, the crowd at Mohawk was ready to go insane. Fans screaming lyrics (me), random people crowd surfing... the show was everything I was hoping it would be. The band played a killer set with a mix of songs from their three albums, Sunken, Wild Onion, and their latest, Down In Heaven.

During my favorite song of theirs, “Holding Roses,” I took it upon myself to buy them flowers like the crazed fan I am and throw them on the stage. It was pretty epic and a local band photographer, Pooneh Ghana, captured some great photos of them handling my roses.

Basically, it was a magical night, and totally worth the wait. I hope to see Twin Peaks dudes again soon, and you know they will be here again in March livin’ it up at SXSW.

-Alexa Boone // Co-host of Alt About It

Since the 1980s, renowned American heavy metal band, Metallica has been classified as one of the founding “big four” bands to influence thrash metal—the others being Anthrax, Slayer, and Megadeth. Recently, the band has decided to remaster their second studio album, Ride the Lightning (1984). They are offering a deluxe box set with 16 pieces of fan favorite memorabilia for the ultimate Metallica fan. It includes a booklet of handwritten lyrics, a hardcover book with never before seen photos, six CDs, a DVD, three posters, and four vinyl records. The band’s website is selling it for $149.99.  

This link to the band’s website shows a picture list of the boxes individual items and a video of Metallica’s founding drummer, Lars Ulrich, going through its contents:

https://metallica.com/store/music/8074/ride-the-lightning-remastered-deluxe-box-set

Fans of the band have been commenting on the release of the remastered set. Some traditional fans, like Vicente T., say: “I just had to have the box… As a true Metallica fan, it's great to have for nostalgic reasons.” However, not all Metallica fans are impressed by the release. Greg R. on Facebook says: “[Metallica] changed music back then. It was faster and looser and just got you pumped up. They have changed; [they] kind of became a caricature of themselves. No way will I buy this—I have my memories of that time, and I don't need it ruined by polished tracks, posters, and fancy packaging. I'd like to remember it for what it was: teenage angst, beer-fueled, testosterone filled mosh pits, and that music.”

Here is a list I made in order of my most to least favorite song from Ride the Lightning:

“Ride The Lightning”

 “Fight Fire With Fire”

“Fade To Black”

“For Whom The Bells Toll”

“The Call Of Ktulu”

“Creeping Death”

“Escape”

“Trapped Under Ice”

I woke up the morning after this concert with a horrible pain all over my body.  I went over to my dorm funhouse-like mirror and checked out my four bruises with delight; I had never been so sore in my life, but these were concert bruises.

Oh man, seeing Iggy Pop and Josh Homme was huge for me.  Afterall, I first listened to both the Stooges and Queens of the Stone Age when I had my musical awakening at fifteen,  I fell in love with his Berlin years work with David Bowie, and even took my radio hosting alterego from “Sister Midnight.” A couple of years ago, when I was at Bleecker Street Records in New York City, I went home with an early Stooges concert video. It was hard to watch, but much harder to look away. I got to the concert venue very early and, after a complete breakfast, went full punk and began shoving my way to the font.  

The concert had two opening acts. One, a bizarre, chocolaty, “Semi Fictional Ouija Pop” British band called “the Moonlandingz.”  The band came out with their singer covered in “chocolate” and were very entertaining with a great sense of humor.  The second act was a shoegaze solo guitarist act called “Noveller” who creates beautiful compositions with only her guitar and pedal array.

Then, Josh Homme and the band took the stage, followed by Iggy Pop. Though the legend is approaching seventy and is less self-destructive on stage, the rocker never lost the nihilistic and unstoppable spirit from those early Detroit divey gigs that built his career.  It’s almost hard to believe the “world’s forgotten” frontman with the dangerous drug appetite would be standing strong after all these years, and, even at his age, still a spitting, cursing, crowd-surfing stooge at heart.

The set list featured songs off Post Pop Depression with Queens of the Stone Age collaborator, Josh Homme, as well as classics from Iggy Pop’s solo career with David Bowie, Lust for Life and the Idiot. The show opened with the iconic drum-pounding beat from “Lust for Life” and everyone in the theatre jumped up and joined in the words. Josh Homme, Dean Fertita, and Matt Helders all wore slick, billiards club attire...Iggy kept a blazer on for about one or two songs, then was his usual shirtless self.  I will say this, the man does not like barriers. Not at all; neither do I, for that matter. Between the energy from the stage and from the audience, I slammed hard against the metal that separated us a couple of times...hence the bruises. After  asking the staff to raise the lights so he could see the audience, Iggy climbed over the barriers and even crowd surfed. With a complete, high-powered show and an eight song encore, it seemed the little man couldn’t be stopped. I truly felt the audience was a factor in the performance with the theatre’s intimate setting along with Iggy Pop’s eagerness to join his crowd.  

The concert itself was beyond a dream come true for me, but it was made even more special being so close and appreciated by the rock legend. I left the venue with ringing ears, a sweaty hug that I will never forget, and a huge smile on my face.

In early March, American heavy metal band Avenged Sevenfold announced a month long song tournament for their fans to engage in. The announcement was made on Facebook as follows:

“We hear constant arguments and opinions over which Avenged Sevenfold song is the best. With March Madness just around the corner we've decided to have an Avenged Sevenfold March Mania Song Tournament. Sign up on our forum and vote to help determine which one of our songs will be crowned the champion.”

Over the course of the month, I have participated in the tourney. At first, I could make easy decisions between songs; but, as the rounds progressed and certain songs had been eliminated to the most popular and revered, the choices have gotten much harder. For example, two of my most favored A7X songs, “Natural Born Killer” and “Bat Country”, have gone head to head. They are similar songs in form and pace. Both contain dominant guitar work and are used specifically for moshing in live performances. However, as much as I wanted “Natural Born Killer” to prevail, majority vote has allowed “Bat Country” to continue to further rounds. Currently, the song is competing against “Seize the Day”—a slow paced ballad.  

During the tourney, many people have complained to A7X administrators about the pairing of songs for the rounds. Some argue that certain songs, like ballads, are competing with other pieces that are completely different in form, like some of the bands heavier work. For example, the song “Dear God”—a love song that progresses in a slow manner with a country-esque attribute in it—was head to head with the song “Burn it down”—a much heavier song that contains faster riffs and wider ranges of loud musical composition. Others argue that the tourney has turned into a popularity contest. They say that certain songs are winning because they are being paired with underrated works from the band’s first album, “Sounding the Seventh Trumpet”, or other pieces that don’t get performed live as much. For example, a song from their first album, “To End to Rapture,” competed in the first round against one of their most widely known compositions, “Welcome to the Family.” The first song is known to be one of the best songs in the first album, though it doesn’t get much performance time. The second song is often played during tours to welcome new fans of the band. Needless to say, the most popular song continued on.

In the bands discussion forum, many fans have voiced their opinion publically. For instance, a member named Nymia said: “Disappointing how the songs were matched. There are too many songs that deserved to be in the final 8 more than some of these.” Facebook user Liam E., said “Some of these are silly, putting ridiculous popular songs against underrated songs! ‘Remissions’ (a song from Sounding the Seventh Trumpet) should've won against ‘Shepherd of Fire’ by far!”

If you or a friend is a fan of the band and want to contribute in the tournament, there are two more rounds to vote in for the championship pairing. The current round ends on March 25th at 10pm (EST) and contains popular songs, such as: “Unholy Confessions,” “Nightmare,” “A Little Piece of Heaven” and a much more. You can sign up and vote at the link below.

http://board.avengedsevenfold.com/topic/4559-read-info-rules-bracket-general-discussion/

There are tons of bands out there putting out great music. But few venture out to make great music with an essence of both danger and anxiety the way that Nothing has been doing since the band formed in 2011 by frontman Domenic “Nicky” Palmero. Nothing consists of Nicky (guitar and vocals), Kyle Kimball (drums), Nick Bassett (bass), and Brandon Setta (guitar and vocals).

Nicky has a bit of a past dealing with danger as he served two years in prison for aggravated assault prior to starting the band. After putting out their thundering debut EP, Downward Years To Come, the band signed to Relapse Records and released their critically acclaimed album, Guilty Of Everything, in 2014. The record placed high on music publications such as Noisey and Pitchfork’s Best Albums of 2014 lists, and received outstanding response, earning them a close, hungry following.

Their mix of shoegaze, garage rock, and punk sound translates well as nostalgic 90’s inspired music. The band saw tons of success following the release of Guilty of Everything, touring around the world with bands such as Torche, Whirr (Nick Bassett’s other shoegaze band), Touche Amore, and even playing a show in LA with Trinidad James as an opener. They later released a v12” split with Whirr through Run For Cover Records featuring new material to show the world that their sound was only moving forward and becoming more defined. In 2015, the band got caught up in the controversial Martin Shkreli situation through dramatically breaking off their relationship with Collect Records, who they had recently signed to. The reasoning behind that decision was based off of information that surfaced that Shkreli was one of the primary investors in Collect Records. Since the start of 2016, the band has been teasing the release of their second full-length album, Tired of Tomorrow, by sending cryptic messages through their very active and hilarious Twitter presence. On February 23, they announced that the album would be released May 13, 2016 (notably Friday the 13th, in true Nothing fashion) and released their first overdriven-yet-heartfelt single “Vertigo Flowers”. Listen to the new song below:

https://soundcloud.com/relapserecords/nothing-vertigo-flowers

Day for Night was a truly singular experience; A festival merging a phenomenal musician line up with innovative visual art.  Even in its debut year, the festival was well-curated, being both mindful of its audience as well as its location.  Apart from the visual art and music, the backbone of this festival was something uniquely “Houston.”  I was under an overcast sky, in the midst of the warehouse district: muddy, concrete, humid, and God, I felt so, so good to be home.  Silver Street Studios sits among freight trains, rice silos, and in the shadow of downtown, Day for Night used its dark, industrial, surroundings as a stage for space-age gadgets, hacker art, optical illusions, and some kick ass music.

In this sense, the visual art installations were suited to the space and seemed like strange alternative industry in the empty warehouses. One installation by Paris-based visual artists Nonotak arranged scaffolding with alternating strobes and sounds. The combination of lights and sounds ranged from evoking something simple, digital, and patterned, to as chaotic and overstimulating as an oncoming train. In another dark corner, artist Vincent Houze combined water, steam, and light to imitate tides, machinery, and anesthesia. Several smaller works lit dark passages and walls throughout the festival.

The performances consistently delivered, especially for a festival only in its inaugural year.  Janelle Monae was endlessly powerful and energetic and an ethereal, avant garde performance from the Philip Glass Ensemble attracted both young and old. B L A C K I E demonstrated exactly why he is quickly emerging as one of Houston’s hip-hop legends, and “Death Grips, holy shit” as Houston’s own Bun B said. Death Grips straight up ate their audience’s ears and vomited said ears with some putrid goo-acid back at them. The group went on stage, white light silhouetted, and delivered an onslaught of sound before just walking off--no questions asked. I think Zach Hill might have nodded once in acknowledgement of the audience, but then again, maybe not. That right there is exactly how I want to be treated by Death Grips.

And finally, New Order.  This band is absolutely iconic and one I had to see.  I should probably apologize to the two friends who went with me to the festival, because I had to hold my ground at the front of the crowd for when New Order eventually played (in 3 hours). This concert was a well-overdue return and Bernard Sumner, sporting a cowboy hat, seemed thrilled to be back in Texas. New Order opened with the fast-paced track, “Singularity” paired with incredible footage from the Rockumentary Lust and Sound in West Berlin. The set mixed tracks from the new album Music Complete with classic numbers like “Temptation” and “Ceremony.” The crowd was entranced by “Plastic,” belted along to “Bizarre Love Triangle,” and overall, brought well-deserved energy to a band which pioneered dance music. It was just really neat to see performers and the audience work together so well. Even after one incredible show, the band came back with a tribute to Joy Division in “Atmosphere” and “Love Will Tear Us Apart,” which was incredible, yet undeniably eerie and even downright heartbreaking but these are his transfer essays...otherwise I wouldn't put in the effort for him to hear live.  New Order said goodnight to Houston with “Blue Monday.”

Overall, Day for Night may be my favorite music festival so far.  Granted, there were a few minor glitches, but Free Press pulled off the fantastic “Festival of the Future” they promised.  There was something very inclusive about the event.  It draws the young crowd and an older crowd, as well as music and art lovers from a range of genres. I’d say this festival isn’t particularly targeted for one group; there were hip-hop, composers, classics, the word “acid” repeated to some sick beats, and so much more. It’s just something you have to go experience for yourself. Thank you Free Press, you’ve done it again.

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I was only a freshman in high school when Best Coast released their debut LP, “Crazy For You.” Thanks to the exposure from my older sister, I quickly fell in love with the band as well as its front woman, Bethany Cosentino.  For a 14-year old John, the music was groundbreaking; the music was catchy, relatable, and essentially embodied the angst I felt as a young teen (which I later expressed through the musings of pop-punk, but we won’t get into that).

Though I’m no longer a teen, I was recently able to fulfill my long awaited dream of seeing Best Coast in concert at Stubb's, Austin’s famous outdoor venue. They’re currently co-headlining a tour with close affiliates Wavves and Cherry Glazerr. Being a fan of all three bands, I had high expectations and they were quickly met from the start. Cherry Glazerr opened with a fan favorite, "Had Ten Dollaz," which immediately injected the crowd with energy. The band's energetic garage-rock sound kept the crowd engaged for an opening act. I was even fortunate to meet and talk to Clem, the lead singer, for a couple minutes after their set. We took a picture together and I asked her details about the band’s new record coming out this year. She wasn’t able to tell me many details, but she told me (very low-key) that it should be out in May, so mark those calendars Glazerr fans.

The next band to play was Best Coast, and my fanboy meter started to go off the charts. The band slowly took the stage one-by-one, leading up to the entrance of my love, Bethany. The crowd went wild as she took the stage and told us, “It’s great to be back in Austin.” The set was a perfect mix of old hits like “Boyfriend,” “When the Sun Goes Down,” and “When I’m with You” and new singles including “Feeling Ok” and “Heaven Sent.” Let me tell you: for a band with a pop sound, the crowd was wild. I think everyone got to hear what they loved from the band for years, songs that are catchy, fun, and easy to sing-along to. Bethany owned the stage in every aspect; from her presence, outfit, and voice, she was basically the indie Beyoncé. As their set was finishing, she mentioned how grateful she was to be on tour with Wavves once again, and casually dropped the fact that the Wavves lead singer, Nathan, and her were officially dating after years of being under the surface about it.

By the end of Best Coast’s set, I was DRAINED and had to fall back in the crowd for Wavves. They played several debut live performances from their latest projects, “V” and “No Life for Me.” My energy may have been low, but the crowd welcomed the new songs with almost nonstop crowdsurfing and moshing. The highlight of the show was when the band brought out inflatable aliens for the crowd to bounce around, and closing the set with their number one song, “King of the Beach.”

Meeting Bethany and/or Nathan that night would’ve been a dream come true, but unfortunately they’re both a bit shy about meeting fans. Nevertheless, this show was pretty much everything I hoped for. I got to meet Bethany’s close friend and lead guitarist, Bob, and even got a station ID from Cherry Glazerr! I recommend seeing any one of these bands live, because they’re great people and equally as great musicians.

Heading to the Vulcan on Friday, I was expecting an amazing night with sweet music to vibe to, and I received nothing less. The Peligrosa x Soulection headline immediately caught my eye last month when the event was announced and I was ecstatic to be able to make it to this show with my girlfriend.

The event, put on by L.A.’s ILLSOCIETY Magazine and Austin’s Peligrosa, was a continuation of ILLSOCIETY’s TFTI (Thanks For The Invite) series. On the Peligrosa lineup, there was Sonora, Orion, and El Dusty, who all played a nice mix of bass filled Cumbia, Merengue, and funk. From the Soulection collective/record label, NiceGuyxVinny, Lakim, and Zikomo played the smoothest grooves possible.

Personally, I am very much into Soulection and the vibes that the co-founder, Joe Kay, and the collective as a whole emanate.

The evening started off with Sonora followed by NiceGuyxVinny, a great pair of acts, which began to bring the audience to the front of the stage. A track from NiceGuyxVinny that caught me off guard was a Jaden Smith // Fast remix that got the whole crowd jumping. Orion was up next and upped the tempo, delivering some bumping tunes.

Next up was Lakim and his set completely blew me away. A Dance With You and FuhDatBih, a Young Dro // F.D.B. remix, were two tracks that I was highly anticipating and trust me when I say that I was hype when they came on. His mix was the essence of smooth and I was feeling it in its entirety. I will say that Lakim was my favorite performance of the night.

El Dusty followed and played a barrage of drum & bass filled Reggaeton and other Latin rhythms. He then called out for ladies to get up on stage, which was met with the response of several girls getting on the elevated stage to exhibit their “moves.”

The night ended with the masked Zikomo, who demonstrated his skill of bringing a tired, 1 AM crowd out to the floor for the closing set with his use of some of the best cuts from 2015 such as Vice City, Alright, and Jumpman, along with my favorite Zikomo track, Yo Yo.

Overall, the event was very entertaining and it makes me look forward to future Peligrosa shows, and strengthened my desire even more so to attend more Soulection events whenever the opportunity arises. It certainly was a great night with great company.  

Who is G.L.O.R.Y.?

We are The Gorgeous Ladies of Rasslin, Y'All! The only all-female theatrical wrestling league that is run entirely and performed entirely by women in Austin, TX. We are excited to crush our inaugural show in April!

No Guts (or funds), No Glory

In the spirit of DIY, we're going to unleash a gritty, powerful, in-your-face explosion of feminist energy hell-bent on subjugating the male gaze in the most comedic and merciless way imaginable.

We are working class women, students, actors, fighters, comedians, and artists who can transform trash into backdrops, used spandex into costumes, and car tires into a dang ring to throw ourselves on for your viewing entertainment.  

Unfortunately, this kind of talent doesn't materialize start-up capital from thin air.

That's where you come in.

With your contributions we can keep this movement running. It will allow us to book a venue, create props, construct a ring, implement proper audio/video, hire security, and produce merchandise in the hopes of being a self-sustaining organization in the future.

Not only will you get some really great swag as rewards for your generosity, you will also be funding an incredible art project whose brutal, beating heart holds the hopes of the marginalized.

Why is G.L.O.R.Y. important?

Many of us are self-admitted wrestling nerds and are former/current wrestlers in various organizations including other female leagues. We have seen some of the worst aspects of the sport, including but not limited to: sexism, homophobia, transphobia, racism, and rampant, unchecked male privilege.

We've also seen some of the best things: unbridled, joyful entertainment, the thrill of performance, the raw power of the slam, the energy from the crowd, and absurdly brilliant storylines.

We strive to be a safe space, free from harassment, a place where people can be their best selves in and out of the ring.

G.L.O.R.Y. is modeled after many other successful leagues that have emerged in recent years, whose numbers are only growing. We want to be pioneers on the forefront of this new chapter in wrestling history and positive role models in the community.

Risks & Challenges

We have received overwhelmingly positive feedback thus far, but in our effort to include those who have perhaps been turned off by wrestling in the past due to some of the issues listed above, we may lose some of the more traditional fans associated with wrestling. Which is inherently risky, but a risk we are willing to take.

In our mission to include all types of women in performance and logistical positions in G.L.O.R.Y., we aren't able to include self-identified males on our roster. Our ultimate goal is to be a production 100% staffed by self-identified women and non-binary folks. Which is kind of a bummer for all of the incredibly talented men who have been, and continue to be, very supportive of our cause.

Other Ways You Can Help

We understand that not all of us have extra scratch to support all the things we want to. Simply coming out to the show and seeing the triumph of G.L.O.R.Y. and telling your friends is a good way to support us.

Men: We don't hate men! Some of our most vocal supporters are men. We want to create a product that is completely run by women, which is a rare thing in this world. Please, come to the show. Enjoy it. Feminism is a very broad (no pun) ideology. Many of us hold very different beliefs on what that means, but one thing we can all agree on is: watching women pummel each other in the squared circle is super dope.

New York based band, Coheed and Cambria are known by fans to release concept albums following lead singer Claudio Sanchez’s comic book series The Army Wars. After eight consecutive concept albums, “The Color Before the Sun” steps away from this storyline and gives the band a certain sense of freedom and expansion as they step into a new direction.

The opening track, “Island” gives the album a good push towards momentum, without draining all its energy out at once. With quality lyrics paired with an almost pop like melody, carried with tight set drums and subtle yet significant bass, creates a great start to the album. The end of the track causes a smooth transition for “Eraser”, which in a sense almost feels like a continuation of the first track with a just as upbeat feel, yet a slightly rougher tone. “Colors” is the track that finally slows the album down a notch, without being too droning. “Here to Mars” is perhaps one of the most climactic songs on the album, almost reaching the middle of the album it is well placed in relation to the other tracks. However, it is almost duly followed by one of the slower songs on the album called “Ghost”. Although the name fits the vibe of the song, the placement of this would be better fitted a bit more towards the end, rather than the very middle of the album. The complete second half of the album consists of straight head bangers and sure to be crowd pleasers when played live. The last track “Peace to the Mountain” gives the album the finale it deserves, with a chorus that builds both vocally and instrumentally.

Being a band for nearly 20 years and consistently sticking to the concept theme for the majority of it, “The Color Before the Sun” creates a sense of relatability that makes it easier to follow, while also giving the audience a deeper look into Claudio Sanchez’s personal life. New and old fans alike will enjoy this album for its upbeat personality, tight structures, and climatic rises.

Recommended Tracks:  “Here to Mars”  “Peace to the Mountain”  

Album Rating: 7.4/10

-Kinseli Jazz Baricuatro // Topper Radio staff

I had the great pleasure of seeing Basement headline the Mohawk in August last year. Basement is a UK-based five-piece melodic-hardcore band that has molded its sound by mixing 90′s grunge and emo to make heavy alternative music. Their first two full-length releases, “I Wish I Could Stay Here” and the infamous “Colourmeinkindness” are widely regarded in the scene, with emotional anthems such as “Covet”, “Pine”, “Yoke” and so much more. Actually, just do yourself a favor and jam both of those albums in full. You won’t regret it. Basement surprised many fans when they announced an indefinite hiatus after touring off of Colourmeinkindness. In 2014 they announced their return with announcement of a new three-song EP, “Further Sky”. The EP foreshadowed a new album and a new sound stemming from more 90′s grunge influence than any of their previous releases. Now here we are, Basement’s comeback album, “Promise Everything” is here and will be released on January 29, 2016 on Run For Cover Records. The opening track, “Brother’s Keeper” is a slapper for sure. It’s evident that this song will be a crowd pleaser when played live, with soaring crescendos and ripping guitars both distorted and clean in the middle where singer, Andrew Fischer swoons with his most improved vocal performance yet. The follow-up song “Hanging Around” is full of the sound that Colourmeinkindness offered, with a little more maturity. The guitars offer creative early 2000′s alternative-esque progressions but could still be more ambitious. The bass on the album is very meaty and gets a lot of attention throughout various breaks in songs. When the pinch harmonics start for “Aquasun”, the fourth track and one of the album’s three singles, you can feel the massive sound coming ahead. With a catchy chorus of “dive into me”, the chosen vocal harmonies, and guitar work definitely bring out the 90′s influence in the song. The track following, “Submission” is the least attractive song on the album. It feels like a filler track and it comes off as the laziest. However, the vocal delivery, carried me through the song. “Oversized” follows, which had been my personal favorite of the three singles released. The song rocks and its mostly clean and the least passionate song of the album. I wish they chose a more mature way to structure the chorus though. “Blinded Bye” is a indie rocker track and showcases a newer sound for the band. The lyrics are mediocre, but the music is catchy enough to be on rock radio and not be terrible. “For You the Moon” is a cool track because it feels like kind of like an old Incubus song. The lyrics are very heartfelt in this one and the guitars are seriously on point. They tastefully use odd effects pedals and incorporate very well within the song. “Promise Nothing” was the world’s first taste of the new album. I personally, thought it was okay, nothing terrible by any means...but it shouldn’t have been the first taste of this album. “Aquasun” should’ve been the first single because it compacts all of the band’s progression and retention in sound in one place. In short, “Promise Everything” is a great album but falls short in surpassing the grit and depth of “Colourmeinkindness”. Album Rating: 7/10

Recommended tracks: “For You the Moon”, “Aquasun” Stream the album in full: http://pdora.co/PromiseEverything Facebook: https://www.facebook.com/Basementuk

-Josh Gibbs// The SoCo Collective airs Sundays at 10pm