Record #830: Hot Water Music – Caution (2002)

By now, anyone who knows me should already know that there are some inexplicable and inexcusable gaps in my music knowledge. There are plenty of bands that I should have grown up loving but ignored for one reason or another.

In the case of Hot Water Music, my suspicion is that I had confused them for Poison the Well, who I never cared for. And yes, I know how stupid that was.

I’ve set to mending these gaps over the last few years, but few of those undertakings have been as satisfying as Hot Water Music’s Caution, a fiery burst of melodic post hardcore that checks just about every box of what I was looking for as a high schooler.

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Record #821: The Get Up Kids – Problems (2019)

The seeds of my rediscovery of the Get Up Kids were planted in 2019. I was writing for a music review site, and the site owner messaged me asking if I was ever into the Get Up Kids, because they had a new album coming out and he needed someone to review it. I said that I listened to them a little bit, but wasn’t a superfan. He said, “that’s better than anyone else,” and sent me Problems. 

What greeted me when I listened was a collection of emotional power pop that hit many of the same sweet spots of their classic work.

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Record #820: The Get Up Kids – On A Wire (2002)

Sometimes, context has a way of tainting our perspective. When we’re in the midst of events, we’re sometimes too close to be able to see clearly.

Case in point: On a Wire, the follow-up to their classic sophomore album, Something to Write Home About. While I personally wasn’t enthralled enough by that record to follow them any further*, many die-hard fans were disappointed with this disc to the point that they felt betrayed.

But for me, having come back to this record with two decades of space between its release and my listening, hearing it without the crushing weight of anticipation and dashed hopes allows it to blossom into a wonderful collection of great songwriting and catchy pop rock.
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Record #819: The Get Up Kids – Something to Write Home About (1999)

Over the years, I have stated publicly and often that I missed the Get Up Kids when I was in the throes of my emo phase. Most publicly, on the first episode of my podcast, which I host with a Get Up Kids superfan.

As a teen, I had a copy of the B-sides and rarities disc Eudora, but really only loved a couple tracks on it. I have a vague memory of buying Something to Write Home About, regarded by many to be their best, but I don’t remember being very enthralled with it.

However, a couple months ago I bought a box of records from a friend that had a number of emo classics, including many from TGUK. “I might as well keep this one,” I said of this disc, before putting it on and realizing something surprising…

I knew every word to this album. 

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Record #805: Cursive – Burst and Bloom (2001)

In my perception, Cursive has had two distinctive characteristics. The first is Tim Kasher’s conceptual and self-referential lyrics, which really came to their own on Cursive’s Domestica. The second is the presence of a cellist, which marked The Ugly Organ and their two reunion albums.

In that perspective, this is the first release in their chronology that really sounds like Cursive to me before my recent deep dive into their discography.

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Record #804: Cursive – Domestica (2000)

On paper, it shouldn’t have worked. An emo concept album about a failing relationship loosely based on the singer’s own divorce doesn’t exactly sound like a formula for a hit record.

Lucky for all of us though, Cursive’s Domestica manages to avoid all of the self-indulgence and clunky storytelling that too many concept albums fail to avoid. Instead, it shows a huge leap forward in both Tim Kasher’s songwriting and the band’s musicianship, leading to an undisputed emo masterpiece.

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Record #803: Cursive – The Storms of Early Summer: Semantics of Song (1998)

After their Crank! Records debut Such Blinding Stars for Starving Eyes, Omaha natives Cursive joined up with the then-burgeoning Omaha record label Saddle Creek. In a few years time, Saddle Creek would become a staple of the underground emo-ish scene, enlisting such bands as Rilo Kiley, The Faint, and Bright Eyes to their roster.

Now, when people talk about Saddle Creek, Cursive is always one of the first bands mentioned. But on their second album, released just five years after the founding of the label, Cursive was still building their legend alongside their new label. And while it might not be remembered as one of their best works, The Storms of Early Summer: Semantics of Song is an important chapter in their mythology.

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Record #802: Cursive – Such Blinding Stars for Starving Eyes (1997)

I’ve been a fan of Omaha’s Cursive for quite a while. I picked up a CD single of “Art is Hard” from my local music store in 12th grade, and I spun those two songs on repeat for weeks. I downloaded several songs from Domestica on LimeWire and burned them to my one of my many emo mixes. Through my “serious music fan” phase in college, The Ugly Organ was one of the few emo records that I still listened to regularly.

But as much as I love those records, I’ve never dug too deep into their earlier material. That is, until I bought a box of classic records from my friend Stephen that included most of the Cursive back catalog.

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Record #808: At the Drive-In – Vaya (1999)

Conversations about At the Drive-In’s best release usually dance around a gridlock between In/Casino/Out and Relationship of Command

However, that conversation simply cannot be complete without taking their incredible EP Vaya into consideration. While it contains absolutely no shortage of ATDI’s signature angular fury, it also sees the group adding experimental elements into their sonic palate. While it’s often described as a bridge between the two legendary full lengths, it even points to Omar and Cedric’s future in the Mars Volta with astonishing prescience.

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Record #807: At the Drive-In – In/Casino/Out (1998)

Many years ago, I said that Relationship of Command was undisputedly the best record At the Drive-In had ever released. And while it remains my favorite, I can’t deny the fact that my 2013 claim wasn’t influenced by the astronomical price that vinyl copies of In/Casino/Out were commanding.

As fortune would have it though, I recently acquired a large lot of records from a friend that included an unreal number of classics for a more-than-agreeable price (thanks, Stephen), which included this record that, historical revisionism aside, means a great deal to me (and a whole lot more that will be reviewed in the coming days and weeks).

While the band had been active for four years before this with two EPs and a full length to their name, In/Casino/Out is really the album where they became the At the Drive-In that would become post hardcore legends.

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