Eyehategod Drops Another New Track


Looks like Eyehategod released another track from their upcoming LP, which will be the first released since 2000. The track is called “Robitussin and Rejection,” and it will make your bowels shake. Apparently they will also be playing Three Floyds Brewing’s Dark Lord Day in Munster, Indiana. Imperial Stout and metal? Hell, yeah.

Check out the track and more info via the Brooklyn Vegan post I stole this from.

Korn Loser Desperate for Attention

image via billboard.com

Apparently Jonathan Davis thinks that President Obama is using Miley Cyrus as a distraction while he passes “police state” legislation. Really? I’m thinking maybe Obama could pull out some more stops than unleashing Miley on the world if he was trying to slip things past the population. Maybe Miley was created in a lab just to serve the Left’s Draconian world takeover! Or maybe Jonathan Davis is just feeling left out of the limelight. Remember, this is a man now going under the name J Devil and who said Korn “was dubstep before dubstep existed.” So now we know exactly who to blame for dubstep.

I just hope he doesn’t have enough power to convert the four people that still listen to Korn into crazy conspiracy theorists.

For more on J Devil’s theories, take a look at the NME article here.

Black Atlass Releases “Young Bloods EP”


I’ve been championing Black Atlass since I first heard his self-released Black Atlass EP last year. After being picked up by Brooklyn’s Fool’s Gold Records, two tracks from that album were properly re-released. “Paris” and “Paris (Instrumental)” started to get buzz, and soon the world was waiting for the Montreal crooner to drop his next work. Well, yesterday was the day, and now we can finally listen to his Young Bloods EP.

I’ll do a full review of this record once I have some time to give it some solid listens. My initial opinion is that it does not disappoint, although I think two of the tracks are practically ruined by rapper XXX.

In the meantime, enjoy this video for the opening track “Blossom.”

New Tycho Album Out Soon

I almost peed my pants with excitement a few months ago when Tycho uploaded a new track to his Soundcloud page. A month or two after that, he uploaded another new song, and his label, Ghostly International, provided a release date (March 18) for his new full-length Awake. Pre-orders were announced about a week ago, along with word that there would be a limited pressing of 2,000 colored vinyl copies besides the normal release.

I’m clearly stoked about receiving my limited version in the mail, but in the meantime I have been relegated to listening to the pre-release tracks over and over. “Awake” and “Montana” are both excellent works, and if they are any indicator to what will be on the LP, Awake should easily compare in quality to 2011’s Dive, which was generally regarded as a fantastic album. The sound is more instrument based and sounds a bit more post-rock than past releases, but the structures and style are still undeniably Tycho, which means we can all look forward to the lush, warm pieces we have grown accustomed to. Hopefully the weather here in Chicago will start to cooperate shortly after March 18 so the music will fit the scenery. Anyway, check out the “Awake” and “Montana” below.

Before the Eyeliner

Years after third-wave emo hit its peak may seem like a strange time to suddenly toss an article about the bastardized word up on a site that has sat dormant for months, but hear me out. I’m not planning on posting a tangent on what “emo” is or what it should be or where it started or how it died. Really, I was just listening to some bands from the 90’s and early 00’s that, at the time, were considered part of a loose category that shared the name. Even though today the word “emo” causes shudders and horrid visions of emaciated, androgynous teenagers cowering in their bedrooms, for many years it was a type of music that was truly awesome and meant something.

I am purposely shying away from using the word “genre” here, because as it stands, emo is not a genre. In a lot of ways, it suffers the same fate as a descriptor as “Indie Rock.” In essence, emo and indie rock are so broad, they are worthless in any type of actual explanation. The term emo has been used for decades and has meant something different every time. The 80’s had first-wave emo and emocore that brought us bands like Embrace and Rites of Spring; bands fueled by the remains of hardcore but with an emotional bent. Second-wave can be traced to the early 90’s, when the word began being used to describe bands using a more rock-oriented, post-hardcore sound, keeping the same lyrical themes but including twinkling breakdowns and a high level of musicianship. Branches began to form on this tree around this time, sprouting out to more specific genres like screamo and emo-violence, although even those styles could still fall under emo as a whole. And then of course the world was treated the third-wave; here came the over-produced MTV pop emo that systematically destroyed anything the term had once stood for.

Personally, I would generally gravitate towards emocore, screamo, and emo-violence, but that doesn’t mean I have overlooked the second-wave emo rock bands. In many ways, the latter hit me where it counts on later listens. Not to make too crazy of an assumption here, but I’m fairly certain a lot of our readers can look back on a time where records by bands like Mineral and SDRE were on heavy rotation. When I hear songs from bands like that from around that era, I can’t help but think of more innocent times before actually being forced to grow up. Those songs have somehow captured my memories in their chords and progressions.

Basically, I feel enough time has passed since the word emo became a cultural taboo, and I’m thinking it might be time for us to take a look back to the albums that gripped us when we were younger, possibly records we once considered soundtracks to our lives. Below this article is a quick playlist I created on Spotify. It covers some of those second-wave emo classics, from the jangly to the driving. Unfortunately, I was constrained by the limits of old Spotty’s library. Either way, why not take a trip down memory lane? After all, we still experience hopes and letdowns just like we did a decade ago, so we might find some of those old songs as pertinent today as we did back then.

Spotify Playlist: Before the Eyeliner

A Dead Kid Reports from Lollapalooza

Hey All!

Brian from …A Dead Kid posted a few reports from Lollapalooza this past week for PureVolume… check it:


Lolla Preview: Five Tips on Surviving Lollapalooza Weekend

Lollapalooza Day 1: Day One—The Black Angels vs. Black Sabbath and the Calm Before the Storm

Lollapalooza Day 2: Day Two—What’s a Little Rain in Comparison to Frank Ocean?

Lollapalooza Day 3: Day Three—Florence & the Chicago Machine

Oh yeah… we’ll be at Riot Fest too.

Sunny Day for Sun Kil Moon; In Which Self-Referential Art is Dissected via Google

Yessss!  Is there not a more appropriate song for today in Chicago?

Sun Kil Moon’s, ponderous, nostalgic, strummy, but not especially happy track (duh, it’s Mark Kozelek), “Sunshine in Chicago” is a free download on Stereogum.  Mr Kozelek recollects a show in Chicago among millions of other shows he’s played over the years;  how his female fanbase has subsided, as well as possibly his V.D.

In the age of self-referential songs and google stalking, we can now pinpoint what day Mr Kozelek is talking about — walking down Lincoln Avenue after getting a manicure, this show was most likely July 8th, 2010 at Lincoln Hall, as Mark name-checks “Julie Holland” [sic] on the Marquee, as Lincoln Hall had booked Jolie Holland four days later, July 12th.  Creepy, right?

Oh, btw, it’s a free download.


90 Songs, 30 Days: Day 13 – A Song that is a Guilty Pleasure

Seeing as the writers of aDeadKid have complimentary tastes in music, we are taking a shot at the popular Tumblr survey “30 Songs in 30 Days” list.  So get ready for a shitload of name-dropping and youtube clips as Brian, Matt and Lis proudly give you their 90 Songs in 30 Days…

Day 13 – A Song that is a Guilty Pleasure

Brian: I’ve mentioned this before, but Chuck Klosterman has aptly pointed out that the modern use of ‘guilty pleasure’ is just an easy way of copping out of something you enjoy but don’t want to own up to.

…People who use this term are usually talking about why they like Joan of Arcadia, or the music of Nelly, or Patrick Swayze’s Road House. This troubles me for two reasons: Labeling things like Patrick Swayze movies a guilty pleasure implies that a) people should feel bad for liking things they sincerely enjoy, and b) if these same people were not somehow coerced into watching Road House every time it’s on TBS, they’d probably be reading A Portrait of the Artist as a Young Man.

Both of these assumptions are wrong.

So.  What is TRULY a guilty pleasure akin to Klosterman’s examples like snorting coke in a public restroom and sex with your enemies?  For the sake of this post, let’s call guilty pleasures “Something you enjoy although you know it’s bad for you.”

Pop music, even if you loathe it, does not constitute self-destructive behavior.  On the other hand, NOT listening (or following) pop culture further isolates you from others.  Modern media is increasingly scattered and what little commonality we have left with strangers is based on lowest-common-denominator entertainment and internet memes.  Being actively against pop culture music simply isolates people into smaller and smaller sub-groups.  We’re at the point now where you need to coerce your friends to listen to/read/watch the things you enjoy just so you have something to talk about.  (Not that the joy of sharing your passions is a bad thing, just saying).

So.  Obscurity is self destructive. Ergo, flash-in-the-pan side projects are pleasurable, fleeting, and ultimately bad for your social health.  So.  Here’s a song from Ugly Cassanova, a footnote of a band comprised by members of Modest Mouse, Holopaw, Califone, The Black Heart Procession, and Red Red Meat.  Don’t like them too much.


Lis:  When looking at my frequently played list, many people (Matt and Brian included) would probably consider most of them guilty pleasures. This was a difficult post to come up with something – especially following Brian’s judicious report. So, I’m not thinking about it too much, and going with a song…more specifically an entire band…that when I say I like them, I am usually met with ‘Oh, really?!’ Pause. ‘Oh, you’re being serious.’

Kings of Leon – Closer

Blah. Blah. Prima donna douche. Blah. Blah. Whatever.

I have an affinity for angsty southern boys with strange idiosyncrasies (e.g. all their album titles have five syllables). Add in that I’ve been spending near equal times in Nashville versus Chicago as of late, and here we find ourselves. Go ahead and judge me.

I picked Closer b/c even with the overt bass line, I find myself completely captivated by the drums. Nothing quite like some spastic car-dancing and steering wheel drumming to help with my morning commute.

(Editor’s Note: Matthew is not being super douchey and playing with his teeth – he’s screaming into the pickup.)


Matt: Straight off the bat, I want to point out that we haven’t posted in awhile due to my lagging. I apologize. Don’t blame Lis or Brian. It’s all my fault. Kbye.

Psych! I’m still here, y’all! All joking aside, it’s time to get serious. Serious about guilty pleasures. To me, a guilty pleasure is more than something you like but want to hide from others. My guilty pleasure is something I love, but it also contains elements of things I constantly complain about. Basically, any of my friends could take my guilty pleasure and throw it back in my face when I complain about bands relying on “pop sensibilities” to sell records. They could point out how I’m being hypocritical when I say easy music is for people too lazy to put any effort into the music they listen to. Because my guilty pleasure is easy music. It’s jangly. It’s banal and simple and made for head bobbing in a Saturn while on your way to a mall. But fuck it, because I love The Jealous Sound, and I will defend them to the death. Hearts, Jealous Sound (and Knapsack).

60 Songs, 30 Days: Day 12 – A Song From a Band You Hate

Seeing as the writers of aDeadKid have some complimentary tastes in music, we are taking a shot at the popular Tumblr survey “30 Songs in 30 Days” list.  So get ready for a shitload of name-dropping and youtube clips as Brian, Matt and Lis proudly give you their 60 90 Songs in 30 Days…

Day 12 – A Song From a Band You Hate

Brian: You can learn just as much (if not more) about someone by asking what they hate rather than asking what they like.  People are very particular on what they admit to liking, while most categorize what they hate in wide, indifferent swaths.

Why do I hate the band I hate?  It’s because they embody something in music that I feel is intolerable — bad music disguised as “important” music.

What you have in the band I hate is a group of film school grads turned recreational bohemian dips, dropping LSD and putting to music (obnoxious music) the clichés you overhear from a table of drunk philosophy/lit undergrads speaking loudly on purpose

This group is fronted by a vapid (though certainly glamorous) instrument-less “singer” whose fans failed to notice his embarrassingly trite lyrics (not to mention an aggressively obnoxious organ) while he affectedly pranced around stage and/or rolled on the floor in leather pants.

Inspired by both Brechtian pomp and their altered perceptions via mediation (but mainly drugs), they masqueraded what could be some of the worst pop songs ever written as some sort of shamanistic vision quest.  Meanwhile crowds piled in to see how fucked up a lead singer can truly get before he up and dies… and then he died.

Close your eyes and listen to what amounts to a lounge singer’s fever dream.


Lis: There are a handful of bands that I dislike. Maybe it’s because I just don’t ‘get it’, other times it’s because I’m not the intended target demographic, but no band instigates more involuntary eye-rolling and my gag reflex than The Black Eyed Peas. There are a lot of reasons to hate The Peas. To name a couple, there’s the band members’ insistence to punctuate their names or Fergie’s bladder control problems. However, the one that sums it up for me is the unabashed declaration that the following song took 5 minutes to write and the self-admission that ‘it wasn’t like my best lyrically’.

My Humps

Yeah, this song won a Grammy.

[Editor’s Note: I was tempted to link to Jeff Tweedy reciting My Humps for a book launch party at The Hideout, but I don’t want to deny anyone of the full effect of the original experience.]



Matt: Since I basically don’t like anything, it is easy for me to come up with a ton of bands I hate. However, I only get one shot at this, so I want to make sure it’s the band that I absolutely loathe more than any other. I hate the culture surrounding this band. I hate the singer’s voice. I hate festivals and Alpine Valley and hemp necklace trades and bros eating grilled cheese sandwiches. Faux-bro-hippy-jam-jazz-? Fuck all that. You have too many useless members! I don’t think I have to say much more before I present…