Record #751: The Appleseed Cast – Two Conversations (2003)

If I seem to be contradicting myself across the different narratives I tell about how I got into the Appleseed Cast, it’s because my relationship with the band is a little contradictory. We had many passings with one another before I finally fell in love with the project, and each of those feel like a fitting introduction for a story about how someone fell in love with one of their favorite bands.

But perhaps the most impressing of those introductions was the track “Fight Song,” a driving, passionate lament that cut me to the core when I first heard it. I was already familiar with the group after hearing them on a few Deep Elm compilations, but I had never dug further. “Fight Song” convinced me that they were a band that was worth the attention.

Unfortunately, it came at a time when I was setting aside the emo/punk/hardcore scene as a whole and branching out into other genres, and so I missed it at the time. Luckily, there’s always still time.

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Record #721: The All-American Rejects – The All-American Rejects (2002)

In 2002-2003, I was a sixteen-year-old emo kid who discovered all my music through scouring message boards, cross-referencing the thank yous in CD liner notes, or watching hours of Fuse TV. I was ingesting a healthy diet of Thrice, Sunny Day Real Estate, Fugazi, pre-hiatus Weezer, Zao, and the like.

And when the Fuse airwaves started being infested with at three All-American Rejects videos on heavy rotation (was it only three? I could have sworn it was at least five), I had an almost visceral reaction. It was the cheesiest, most cliche, overproduced schlocky pop punk I had ever heard. It was so pop punk it was almost devoid of any punk ethos at all. It felt like the exact embodiment of copycats who heard Dashboard Confessional and learned the exact wrong lesson.

And for years, I endured it angrily.

But after I graduated, I was driving around with a friend and flipping through their CDs when I found this and threw it in as a joke. And to my utter surprise—and the disappointment of my punk cred—I realized that this album totally bangs.

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Record #679: The National – High Violet (2010)

Among the annals of indie rock, there are few bands like The National.

Despite the rich, almost folksy songwriting, the songs are accompanied by angular electric guitars and rushing drums rather than an earthy, acoustic-based sonic palette. Despite the kinetic energy of the band, singer Matt Berninger’s voice rarely strays from a rich baritone, avoiding the yelps and howls that most frontmen would employ when paired with a band of such energy.

High Violet, their fifth album (which celebrated its tenth anniversary this week!) was my entry point to the band, and what an entry point it is. Across the eleven tracks, it showcases everything that the National does better than anyone. Continue reading

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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Record #636: Local Natives – Violet Street (2019)

Remember when Local Natives was an indie rock band?

I certainly do. But after the delicious synthpop of Sunlit YouthI came to peace with the fact that they’d probably never write a song like “Sun Hands” or “Breakers” again.

While I wasn’t surprised to see them to further embrace pop sensibilities, I was a bit shocked that Violet Street explored the disco-tinged soft rock of the late 70s.

Did I say shocked? I meant frickin’ delighted.

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Record #623: Joe Baughman – Vacant Spaces (2019)

Let me tell you about my friend Joe.

Joe and I met at our small Christian college over a decade ago (Facebook actually reminds me that today is our ten-year friendiversary. Since then, he has made a reputation for himself as an impeccable stop-motion animator, making music videos for bands like Caveman, Wilco, Sufjan Stevens, and the Roots.

On top of working with such esteemed artists, he’s an incredible musician himself.

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Record #597: The Fire Theft – The Fire Theft (2003)

After emo godfathers Sunny Day Real Estate disbanded (again), three of the four original members started a new band called The Fire Theft.

They said often and loudly that they were a completely different project, inspired more by rock bands like Led Zeppelin and Pink Floyd than the punk bands that inspired SDRE.

But listening to the record, it’s pretty clear that the distinction is almost purely nominal—especially considering that this vinyl reissue uses the exact same typeface as Diary and The Rising Tide (and the same producer as Diary and LP2).

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