Record #709: Dashboard Confessional – The Swiss Army Romance (2000)

While The Places You Have Come to Fear the Most was one of the albums that kickstarted my emo phase, The Swiss Army Romance is the one that cemented it. While I probably gave each of them equal play time in my Discman, Swiss Army was my clear favorite.

True, the two albums have nearly identical aesthetics, and the songwriting is of the same quality across both discs. But there’s something about the completely stripped down sonic palette of Swiss Army that makes these songs more effective than the full band treatments that would fill the track lists of later albums.

Dashboard’s main appeal was its rawness. These songs are almost too intimate to invite anyone else into, begging to be sung (or screamed) entirely on one’s own. And apart from a couple background voices, this album offers that rawness in a purer form than the project would ever attain again.

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Record #704: Dashboard Confessional – The Places You Have Come to Fear the Most (2001)

Now this is more like it.

No more weird live versions or late-career tracks from a compilation that is clearly a cash grab.

This here is the real deal: the long-awaiting vinyl pressing of the seminal emo classic The Places You Have Come to Fear the Most, an album that has been equally revered and reviled—usually by the same people at different periods in their life.

But having long since past the point of shame, I can now embrace this album as wholly as I did when I was a shaggy haired, ripped-jean, cardigan-clad, square-frame-bespectacled emo kid.

Wait…I guess things haven’t changed that much…

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Record #682: Dashboard Confessional – The Best Ones of the Best Ones (2020)

My fifteenth birthday was a formative one. While on vacation with my family, I made the conscious decision to stop spiking my hair and instead push it forward. I decided to put away my past-the-knee shorts and skate shoes in favor of slim fit jeans and Chuck Taylors. And when given free reign at a CD shop, I bought Dashboard Confessional’s The Places You Have Come To Fear The Most (and the first two Juliana Theory EPs) instead of the earlier Blink-182 albums that I had been eyeing for a while.

I had weighed the options, and decided: I was going to be an emo kid.

And over the next year, Dashboard Confessional would be central to that process. I absolutely devoured the first two albums, detuning my guitar to Chris Carabba’s open chords and training my voice to yelp similarly. I was even reminded recently of a short-lived solo project called Just My Luck that aped every part of his own solo work.

But unfortunately, those two records are nearly impossible to find on vinyl. Copies of Swiss Army Romance go for over $250. The Places You Have Come to Fear the Most has never been pressed (though his next two Vagrant releases were reissued a couple years ago?) And so, I found myself with no choice than to swallow my pride and buy this uneven and, at times, bizarre compilation.

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Record #676: Fiddlehead – Springtime and Blind (2018)

 

Across the music community, there are two things that rarely pay off: hype and supergroups.

Hype over a band often overshadows the actual output of the project, while the work of most supergroups fails to capitalize on the combined efforts of the members involved.

But luckily, there are exceptions to every rule. Springtime and Blind, the debut LP from Fiddlehead (feat. members of Have Heart and Basement) eschews every ounce of speculation directed its way and delivers one of the most heartfelt, teeth-kicking albums in years.

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Record #670: Grey Gordon – Forget I Brought It Up (2014)

I sometimes forget that my friend Grey is more than just a memelord. From his constant online irreverence and roasting of just about every band in existence (see: his podcast Demolisten), it sometimes feels like he doesn’t have a heart at all.

But within a few seconds of his solo full length Forget I Brought It Up, I realize oh yeah, this guy does have feelings—and an incredible talent for communicating them through poignant lyrics and a rich mixture of 90s alternative, pop punk, and emo.

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Record #671: Cloakroom – Infinity (2013)

Among all of the bands carrying the return of loud, low, heavy guitar music pioneered by bands HUM and Failure, one act is often hoisted above the rest as the standard bearers.

That band is Cloakroom, doomgazers/space rockers/slacker rockers  from Northwest Indiana (hey, that’s where I live)! And on their debut EP, Infinity, Cloakroom roars into infamy with the roar of a thousand amplifiers and an earth-crushing gravity.

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Record #668: Envy – Insomniac Doze (2006)

As long as I’ve been in the emosphere (read: like 2001 or so), I’ve somehow entirely ignored Japanese screamo pioneers Envy. It’s quite likely that I heard their names thrown around with acts like Orchid and Loma Prieta that I didn’t like at all, and assumed they would carry all of the same abrasiveness.

Had I known though that they leaned much closer to post rock than to hardcore, I wouldn’t have waited fifteen years to listen to this masterpiece.

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Record #665: Elliott – Song in the Air (2003)

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As convenient as online shopping has made it to find all the exact records that you’re looking for, perusing a record store can bring gems that you would have otherwise ignored.

Case in point: Song in the Air by Elliott, which I found at Planet Retro in St. Pete while browsing their impressive Punk/Metal section (Kate Bush was in there too, so take “punk/metal” with a grain of salt). Having been tangentially aware of them, I pulled up Spotify and scanned through some of the songs.

What I found was a powerful emo record that gets most of its emotional weight from the intricacy of its songwriting rather than the bombast of its arrangements.

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