All posts by Rollie Rathburn

REVIEW: Underoath’s Powerhouse Performance Still Astounds Longtime Fans in Phoenix 4-7-17

PHOENIX — As I finished my coffee outside Comerica Theater, I watched the ever expanding line of eager concert goers and couldn’t help but marvel at how much the demographic for Underoath and Bring Me The Horizon had changed over the years. Bands who once suffered mile after mile in cramped vans to play to maybe 200 people on a good night were now riding in full size tour buses and playing 5,000 capacity venues decked out in state of the art stage production. Rooms full of angsty scene kids were now joined by radio ticket winners and suburban families all venturing into downtown Phoenix for a Friday night of metalcore’s biggest contemporary acts.

As I made my way down to the venue floor, Beartooth was two or three songs into their opening set and were doing an admirable job of getting the crowd moving and engaged while many were still trickling down to their seats or waiting in the (literally) two story tall merch line. Despite having played multiple sold-out shows at The Nile, sets at KUPD’s Ufest, and enjoying regular radio airplay, the crowd was largely silent when asked “Who here has seen Beartooth before!?”. However, by the time their explosive set wound down to a close, there was no doubt that Beartooth had won over the majority of the crowd and left the stage to raucous applause and an exodus of new fans headed to their march table.

Now, before I get into the Underoath portion of the evening, I must admit that this band has always held a special place in my heart. My first show in 2001 featured Atreyu, Underoath (then touring behind the album The Changing Of The Times), XDeathstarX, God Forbid, and Scars of Tomorrow at the Mason Jar long before it became it became The Rebel Lounge. Throughout high school the memories piled on as I went to virtually every Underoath tour that passed through Arizona with all of my friends who obsessed over every line of They’re Only Chasing Safety and Define The Great Line. My inner 16-year-old was just as astounded when the band opened up with “Everyone Looks So Good From Here” and “In Regards To Myself”, directly into “It’s Dangerous Business Walking Out Your Front Door”, as when I first heard them blasting through the headphones of my yellow cd player back in 2004 and 2006 respectively.

Photo Credit: Katherine Amy Vega
Aaron Gillespie (Drummer, Clean Vocalist), Underoath
Photo Credit: Katherine Amy Vega © Kataklizmic Design

The rest of the setlist was dominated largely by songs off these two albums, which makes sense given their recent reunion tour featuring both albums performed in full, but featured select songs from Disambiguation and Lost In The Sound Of Separation to add a bit of variety to the setlist for the diehard fans. Spencer Chamberlain and Aaron Gillespie sounded even more in sync than on the reunion tour and proved themselves to be absolute powerhouse vocalists who have more than earned their legendary status as truly influential members of the metalcore scene who have made a lasting impact on everyone from The Devil Wears Prada to headliners Bring Me The Horizon.

Underoath - Photo Credit: Katherine Amy Vega
Grant Brandell (Bassist), Underoath
Photo Credit: Katherine Amy Vega © Kataklizmic Design

Disclaimer: The author (yours truly) watched the entirety of Bring Me The Horizon’s set and was absolutely astounded by how tight they sounded as well as the sheer magnitude of their lighting production. However, due to loss of material and a minor concussion from a recent vehicle accident I was unable to recover my review of their set. Look forward to it in a future Party Dispatch and thank you for the patience.

by Katherine Amy Vega

Underoath – Comerica Theatre 4-7-17

All Content © Kataklizmic Design.

REVIEW: Sleigh Bells SLAY at Crescent Ballroom 3-27-17

PHOENIX — If I were to describe Sleigh Bells’ unique brand of feedback-laden experimental electro-pop, I’d probably tell someone to imagine the sound that the nighttime cinematography of the film Drive would make if given human form. While admittedly a bit obtuse, I couldn’t help but think of wet streets, leather, and neon once the guitar cabs kicked on and assailed a sold-out Crescent Ballroom with danceable abrasion.

Sleigh Bells - Photo Credit: Katherine Amy Vega
Alexis Krauss (Vocalist), Sleigh Bells
Photo Credit: Katherine Amy Vega © Kataklizmic Design

From the moment the duo of Alexis Krauss and Derek Miller hit the stage, every member of the audience was off their feet and dancing in a writhing chaotic mass. Touring as a two-piece in direct support of November’s Jessica Rabbit seemed like a potentially risky choice given the album’s emphasis on volume and upbeat power. Thankfully, the duo effortlessly executed their career spanning setlist with more energy and precision than is often afforded by an entire tour package.

Sleigh Bells - Photo Credit: Katherine Amy Vega
Alexis Krauss (Vocalist), Sleigh Bells
Photo Credit: Katherine Amy Vega © Kataklizmic Design

Having not seen or closely followed the band since 2012’s Reign of Terror, I was impressed to see how the band had continued to expand on their signature sound while remaining true to the shredding meets dance floor aesthetic that Sleigh Bells fans have come to worship.

This manner of growth was perhaps most notable on Jessica Rabbit lead off track “It’s Just Us Now”. Played third in their setlist, the dramatic build of an almost Southern Rock riff alongside a surprisingly hip-hop leaning drum sample into a soaring vocal chorus over a tempo breakdown showcases the band at their absolute best. Even the title itself is reflective of the band’s confidence in themselves. They aren’t bound by hype, touring members, or notions of what they should sound like. They are simply two artists at the top of their game trying to push their music, as well as dance floors, to the absolute limits.

Sleigh Bells - Photo Credit: Katherine Amy Vega
Derek Miller (Guitarist), Sleigh Bells
Photo Credit: Katherine Amy Vega
© Kataklizmic Design

Above all, it was clear that the band was having just as much fun as the crowd. Alexis bounced from one side of the stage to the other, interacting with the crowd and positioning herself for photo ops, while Derek let his metalcore roots show as he headband at the front of the stage all night. Feeding freely from the energy onstage the crowd even broke into a push pit for a few songs, which seemed somehow natural despite it’s unusual setting.

As the evening finally wound down, Alexis brought opening act Tunde Olaniran onstage for a brief duet appearance before closing their set with A/B Machines from debut album Treats, then disappeared out the venue doors while the crowd finally paused to take a breath.

Sleigh Bells - Photo Credit: Katherine Amy Vega
Sleigh Bells
Photo Credit: Katherine Amy Vega © Kataklizmic Design

Highlight: Opening act Tunde Olaniran was absolutely astounding. Blending soul funk with trap EDM beats was the perfect way to set the crowd up early for an evening of high paced dancing while drawing even the most introverted audience member out of their shell for a night. Bonus shout out to the guy wearing an Agitator shirt who looked genuinely lost the entire night.

by Katherine Amy Vega

Sleigh Bells – Crescent Ballroom 3-27-17

All Content © Kataklizmic Design.

REVIEW: Adrenalized Yellowcard Farewell Show Leaves an Impression on Arizona 3-22-17

TEMPE, Ariz. — For a few hours on March 22nd, current and former orchestra geeks got to feel like the epitome of cool for one more night as Yellowcard wound down their 20 year career to a sold out crowd at the Marquee Theatre in Tempe.

After an acoustic opening set from former bassist Sean O’Donnell and a brief audio message humorously decrying the use of cell phones during the set, the house lights dimmed and Yellowcard exploded onto the stage with a fiery performance of Ocean Avenue lead off song “Way Away”. Despite setting the bar high with such a high-octane classic track, the band showed no signs of fatigue as they powered through a massive 24-song setlist featuring tracks from most of their 10-album catalogue.

Ryan Key, Yellowcard - Photo Credit: Katherine Amy Vega
Ryan Key (Vocalist), Yellowcard
Photo Credit: Katherine Amy Vega © Kataklizmic Design

While the band chose to spend the majority of their stage time blasting from song to song with scarcely enough time to breath between tracks, the few pauses afforded to the crowd were rife with a welcome wistfulness from lead singer Ryan Key as he reminisced on the band’s trajectory leading up to that night. Whether he was explaining how early shows at the Nile Theater in Mesa served to help the band cultivate their first true out-of-state fanbase, or pridefully detailing the various emotions surrounding each album, Key spoke from a place of true sincerity and love for the band which has encompassed the majority of his life.

An unassuming viewer could be easily forgiven for not realizing that Yellowcard’s performance that evening was their third to final show. Every member of the band was visibly having a great time flying around the stage with abandon as they effortlessly nailed every note. Violinist Sean Mackin in particular seemed to visibly buzz with energy as he leaped across the stage and even nailed his signature backflip from the bass cab with seemingly minimal effort. Lead guitarist Ryan Mendez was visibly having a great time playing the old songs as he added discords and dive bombs not present in the album versions, smiling ear to ear as the audience bounced up and down to the tempo.

Sean Mackin, Ryan Mendez, Yellowcard - Photo Credit: Katherine Amy Vega
Sean Mackin (Violinist) and Ryan Mendez (Guitarist), Yellowcard
Photo Credit: Katherine Amy Vega © Kataklizmic Design

For Yellowcard these final shows were clearly a celebration of a two-decade career still capable of churning out fantastic material, not the death toll of aging rockers far past their prime. Having loved Yellowcard since they played my junior high auditorium (seriously), it was definitely difficult to watch such an amazing set realizing it would be the last time I could do so.

However, the beauty of a band leaving on the power of their own strengths was a truly amazing site to behold, and one that every attendee will likely never forget for as long as they live.

Highlights: Despite being familiar with much more than Ocean Avenue, I truly have overlooked a great deal of Yellowcard’s albums from the middle section of their career. The sheer energy of this show has definitely lead me to further explore their discography with a newfound appreciation.

Low Points: For the first time in a long while, there truly aren’t any moments I can recall from this show that were anything other than ideal.

by Katherine Amy Vega

Yellowcard – Marquee Theatre 3-22-17

Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.

REVIEW: Phoenix Party Dispatch – Graf Orlock, Denzel Curry, & Complete Chaos 3-25-17

So let’s start by getting one thing straight, I love chaos. Whether it’s a basement full of people punching one another or taking ill advised jumps off bridges into a river, I vehemently believe that humanity is best served at it’s absolute wildest. As such, I found myself at crossroads when it came to how to best spend my Saturday night on March 25th. Do I head to Valley Bar for an evening of cinema themed powerviolence with Graf Orlock, or do I head over to The Pressroom for the Phx Am after party and scratch Denzel Curry off my Coachella to-do list early? Well I’m not one to do anything half-speed, so the only logical choice was clearly to just go to both shows and see if my mind could survive.

Thanks to an early start time of 6:30, I arrived in plenty of time to see Graf Orlock absolutely ravage the Valley Bar side room with their action movie sample heavy brand of grindcore. Unfortunately, due to the early start time and a considerable lack of promotion overall, the crowd for Graf was relatively thin and only featured moshing from a handful of dedicated fans who had shown up early for the occasion.

Thankfully, by the time headliners Horse The Band took the stage, the room had definitely filled up quite a bit with what looked to be a great deal of people who hadn’t left the house in quite some time, but had made the pilgrimage for one Horse’s infamously raucous live sets. It’s important to note that such a description is not intended as an insult. Horse The Band’s brand of post-modern humor mixed with nintendocore influenced metal is simply the sort of music that inspires a wide swath of people to venture out of their homes to drunkenly destroy everything in their sight.

From the moment the opening notes of “Heroes Die” rung out across the basement, to the closing mash up of “March Of The Pigs” by Nine Inch Nails with perennial favorite Cutsman, Valley Bar was turned into an absolute train wreck of spastic pushing and screaming reserved primarily for epilepsy and Horse The Band shows. Surprisingly, there was only one issue the entire evening, and that was the fault of a drunken fan who would not exit the stage when prompted.

As the bewildered venue staff struggled to collect their thoughts, as well as their hearing, I made my way up the stairs and set of to Pressroom to continue my evening of debauchery.

Now, it’s at this point in the night that so much wildness happened in such rapid succession that the only way to effectively encapsulate it is via bulleted list:

  • So much weed that it looked like the inside of the venue was on fire.
  • A crowd of mostly 16-19 year olds that literally moshed the entire time, including during a jazz set and multiple djs.
  • At least two children who were likely not even 10 years old despite the show being 16+
  • A rowdy patron who kept attempting to start fights get picked up by a group of 15-20 other concert goers who carried him out the front doors and literally threw him into the street.
  • Possibly the absolute worst musical performer I have ever witnessed by the pink haired guy rapping with C-Roy.
  • A fight between two 16 year olds so vicious that blood and teeth were flying before security had time to intervene.
  • Playboy Manbaby getting two full venue circle pits going during their set.

Regarding the performances, Playboy Manbaby played a set more than worthy of the 15 dollar ticket price. While their blend of Primus vocal delivery meets mid 80’s surf funk may have seemed an odd domination to a trap/grime rap show, the sheer energy of their stage presence more than won over the crowd who turned the entire venue into a mass of dancing and thrashing bodies perfect for a skate competition after party.

However, once Denzel Curry took the stage, he easily eclipsed every aspect of the preceding evening. Standing confidently at center stage and letting out a Super Saiyan scream, he proceeded to eviscerate the entire building with his trademark staccato delivery. By the time he played his massive single “Ultimate”, what little was left of the building was reduced to rubble by the onslaught of stage dives that broke out the second the beat dropped.

Exhausted and facing a 3 mile walk back to my car, I made for the exit while I checked my phone and lamented the fact that by the time I got home, I’d have only 3 precious hours to sleep before I needed to wake up and jump off a waterfall the next morning.

Review: Viva PHX 2017 – Downtown Music Festival Retrospective 3-11-17

PHOENIX — As the relatively packed light rail rolled to a stop, I knew I was in for an adventurous evening as I was greeted by roughly 50 bridal gown clad men and women shotgunning Red Bulls on the platform as passersby confusedly took pictures for their Snapchat stories. Despite what the light rail’s human to personal-space ratio suggested, Viva PHX kicked off with a relatively mellow start. While there were certainly some larger packs of high school aged patrons eagerly hustling to get prime spots at all ages stages, specifically the 2nd Ave stage outside Crescent Ballroom, the pre-sundown streets were not quite fully alive with festival buzz.

Viva PHX 2017 Lineup Flyer
Click to Enlarge

After picking up my wristband in front of Comerica Theatre, I decided to follow the majority and head toward Crescent Ballroom to watch Rozwell Kid open the evening on the outdoor stage. While opening an unorthodox festival comprised primarily of people unfamiliar with your band can certainly provide a daunting challenge, Rozwell Kid showed absolutely no signs of nerves as they got the crowd bobbing along to their signature blend of old Weezer-style vocal patterns and bouncy pop-driven guitar lines while showcasing tracks from all three of their albums. They also seemed to have the most fun of any band as they dedicated several songs to the glowing AT&T sign they mistook for the moon as well as the users of the stage right port-a-potties. Judging by their post set mercy line, I wasn’t the only one impressed. At this point, the majority of my group was clamoring to go and lock down good spots for The Drums, so I embarked on the first of many trips between 2nd Ave and Comerica Theatre.

A post shared by Rozwell Kid (@rozwellkid) on

We arrived at Comerica to a much smaller crowd than anticipated and easily made our way down to the general admission pit area in time to catch the last few songs of The Mowglis. While they were certainly quite good and seemingly tailor-made for festival season appearances, I couldn’t help but think their music sounded as if it were the background soundtrack for The OC. Either way, they got the dance floor moving with everyone from mid 40’s moms to high school students decked out in their pre-Coachella best. Now, full disclosure, I must admit that I have never listened to The Drums so I didn’t quite have the same excitement as the majority of the crowd. I have nothing against their music, but as soon as the rest of my group made their way to the guard rail I pounced on the opportunity to run back to the 2nd Ave stage to watch The Menzingers deliver one of the absolute best sets of the night.

gettin pumped for this tour guys 💪🏽

A post shared by The Mowgli’s (@themowglis) on

Kicking off their set with “Tellin’ Lies”, the lead off track from their newest album After The Party, the now packed crowd instantly chanted along with the chorus “Where we gonna go now that our Twenties are over?!”, a question that is becoming uncomfortably relatable. With little more than a pause to catch their breath, the band quickly launched into fan favorite ” Don’t Wanna Be An Asshole Anymore” and never letting up until their set came to a close. On a stage with primarily slower temp bands, The Menzingers made their punk rock pedigree very visible as they whipped the crowd into a frenzy of circle pitting and crowd surfing. As I walked back toward Comerica to rejoin my friends at The Maine while we waited for Girl Talk, I couldn’t help but notice that the breakneck dashing between stages was easily the strongest asset of Viva PHX. As opposed to single destination festivals like Coachella, the spread out confusion of various downtown Phoenix venues created a nostalgic energy and sense of adventure which could have easily been lifted from Nick and Nora’s Infinite Playlist (or perhaps Dazed and Confused for the older crowd.)

Phoenix! We’re on at 9 at Viva Phoenix festival tonight. Come hang!

A post shared by themenzingers (@themenzingers) on

After a quick detour down Monroe Street for a Lucha Libre match and an average Ghost Pepper cheeseburger, I was dismayed at how quickly I grew bored watching The Maine play a largely lackluster set. While it is almost certain that many bands’ sound and style will evolve over time, it appears that The Maine’s attempts to transition their new material toward an almost Black Keys style is not yet ready to be properly manifested. Even when playing old material, attempts to update classic songs to the new format were met with a lackluster reception evidenced by the dull attempts to create a call and response vibe with the audience. As the set drug to a close, the band awkwardly called for the largely underage crowd to “break out the weed” and ended the set with a cacophony of feedback laden strumming before quickly exiting the stage.

Following The Maine, I made my way to the general admission pit floor area and worried aloud to my friends that the preceding set may have driven too many people to other stages and would result in a dismal turn out for Girl Talk. My worries were quickly dashed as Greg Gillis took to the stage and the floor immediately filled to capacity, as well as most available seats. Storming through a surprisingly Trap-heavy rendition of his signature mash-up style amidst toilet paper cannons and confetti blasters, the largely relaxed Comerica Theatre exploded with non-stop energy as everyone in attendance brought Viva PHX to a close worthy of a true festival experience. From the unhinged visuals streaming across the video wall at the back of the stage, to the 80 person deep mob of dancers strewn across the stage, Girl Talk’s set was that of a tried and true festival headliner worthy of his top billing alongside legendary acts Wyclef Jean and American Football.

With Comerica Theatre left in shambles and Monarch hitting capacity for Murs and Peanut Butter Wolf, I elected to leave downtown on the light rail amidst a group of fellow attendees comprised primarily of ASU students holding one another upright as they half heartedly spoke of trying to find afterparties, despite their sweat stained clothes suggesting that their physical abilities may not match those of their spirit. Until Pot Of Gold next weekend, their adventures had drawn to a sudden, yet fulfilling, close befitting a festival which had truly blossomed into something the Arizona music scene can truly be proud to host.

Low Points: The late start time led to a huge amount of headline quality artists overlapping. While the dashing between stages is sort of the point, I can’t help but think that starting earlier or possibly reducing the amount of stages may help to focus the fest a bit more.

Highlights: The team of Girl Scouts hustling cookies to people waiting in line to get into venues. I respect and applaud your hustle.

REVIEW: AFI Brings Despair, Blood, and 26 Years to Tempe 2-17-17

TEMPE, Ariz. — Eyeliner-tinged catharsis and angst were alive and well at the Marquee on Friday night when AFI made their Arizona stop on The Blood Tour with support from Nothing, and Souvenirs.

Souvenirs got the night started with a set heavy on tracks from their newest album Posture Of Apology. With stark emotional lyrics focused on understanding, loss, and forgiveness, Souvenirs struck the perfect balance between the 90’s Sub Pop records catalogue and The Devil and God Are Raging Inside Me-era Brand New. Overall, while their set may not have astounded many of the ardent AFI fans in attendance, it served as the perfect transition to Nothing’s reverb-heavy set which followed after a speedy changeover.

Nothing proved to be an exceptionally polarizing band for the sold-out crowd. With awkward stage presence, dedications to the memory of George “The Animal” Steele, and rambling half-mumbled banter between songs, it would be easy to simply write off Nothing as a band trying to emit a false rockstar facade. However, as they worked their way through a reverb-drenched set of songs that called to mind My Bloody Valentine’s vocal delivery layered over instrumentals which would have felt right at home amongst the Smashing Pumpkins discography, or even Incubus’ Morning View, they revealed themselves to be truly adept performers and songwriters who deserved their spot supporting AFI on a large scale tour. Though Domenic Palerno’s airy, trance inducing vocals may have seemed out of place opening for the concussive ball of energy that is AFI, the fact that they were able to hold a largely unfamiliar crowds attention for a 45 minute set is testament to their well-deserved presence on the Relapse Records roster.

Following Nothing, the stage lights were tuned to an ominous purple while the hazers were ratcheted up to blanket the stage in heavy fog. Finally, the lights dimmed and AFI took the stage to a cacophonous roar from the packed Friday night crowd. Opening with a near-soulful rendition of “Strength Through Wounding” from legendary album Black Sails In The Sunset, Havok and company quickly ratcheted the energy up to a thousand by launching directly into “Miss Murder”, launching the crowd into a frenzy that never relented for the rest of the evening.

Jade Puget (guitarist), AFI - Photo Credit: Katherine Amy Vega
Jade Puget (guitarist), AFI © Kataklizmic Design
Photo Credit: Katherine Amy Vega

Most impressively, songs from the recently released Blood album received just as much of an explosive crowd response as tried-and-true Sing The Sorrowera favorites. “Aurelia”, “Snow Cats”, and “So Beneath You” all found great strength in a live setting where Davey Havok’s powerful vocal flourishes combined with a wall of guitar tone, propelled them beyond an album sound which many felt was a bit too “clean” for a band which has consistently based their career on raw emotion.

Davey Havok (vocalist), AFI - Photo Credit: Katherine Amy Vega
Davey Havok (vocalist), AFI © Kataklizmic Design
Photo Credit: Katherine Amy Vega

The setlist also made a direct point to showcase how much pride the band takes in their material from each album by sandwiching Blood album lead single “Snow Cats” between The Art Of Drowning‘s legendary tracks “The Despair Factor” and “The Days Of The Phoenix”. Whether calculated, or simply a serendipitous surprise, this pacing showed that with age, AFI at their core is still focused on the same message of sorrow, regret, pain, and love.

Hunter Burgan (bassist), AFI - Photo Credit: Katherine Amy Vega
Hunter Burgan (bassist), AFI © Kataklizmic Design
Photo Credit: Katherine Amy Vega

Throughout the career-spanning set, Davey continually launched himself off of every available surface, while Jade Puget pirouetted effortlessly across the stage; making it clear that nothing about their performance or career would be slowing down at any point in the near future.

Highlights: Deep cuts from Sing The Sorrow, including “This Celluloid Dream” and “Paper Airplanes”, dedicated to anyone who had seen them at The Nile long ago.

Lowlights: An oddly-aged and very drunk crowd, who continued shouting for “Miss Murder” long after it had been played.

by Katherine Amy Vega

AFI – Marquee Theatre 2-17-17

Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.

REVIEW: Say Anything’s New Album “I Don’t Think It Is”

Artist: Say Anything
Album: I Don’t Think It Is
Release Date: February 5, 2016

Like every Say Anything album, “I Don’t Think It Is” lays it’s cards on the table from the first note of the raucous intro “Give A Damn”, and sets the tone for a strong outing that is at once a return to form and a massive leap in sheer willingness to push their songs beyond any easily categorizable structure. Lyrically, the song showcases Max Bemis’ traditional vitriol toward both himself and his critics. However, the song structurally revolves around a much more lo-fi garage rock vibe than has ben shown in any previous Say Anything album. This burst of high energy post-punk stems directly from the influence of members from bands such as The Blood Brothers, At The Drive-In, and Mutemath; as they each provide their own unique take on the tried and true Say Anything formula. Since the release of “In Defense Of The Genre”, Say Anything as a band has evolved into a collective of sorts with Max Bemis at the helm. Whether through a slew of special guest features (“In Defense Of The Genre”) or a bold decision to release an album without any guitarist (“Hebrews”), Bemis’ creativity and unhinged passion always shine brightest when he surrounds himself with his peers and idols.

Perhaps the most impressive feat this album manages to pull off is a return to the bold sassiness, hilarity, and angst that characterized the early albums without coming across as an awkward old man trying to rekindle the sound of his youth. Above all, there is a refreshing burst of anger on this release that could only be created by an artist who simply does not give a damn what critics, fans, or anyone other than himself thinks about the songs he has crafted. Perhaps this mindset is what allowed for the much talked about collaboration with Kanye West wherein Bemis and West sat down and listened to one another’s at-the-time unreleased albums together and each other.

As with all things Say Anything, there really is no way to truly ever separate truth from facetiousness unless you were actually present for any of the events, but it is very difficult not to notice parallels between the two artists. “Goshua” in particular sounds like an indie B-Side of the “Yeezus” album, and is the moment the album became a masterpiece. “We’re divided by a wavering expression. And I drink too much to cut the tension. You think I live for attention? Man, look what I do for a pension.” is a verse that could have just as easily shown up during “Black Skinhead”, and shows a bravado noticeably missing from the previous two albums. Max Bemis is confronting his own creativity with every line and through doing so manages to save Say Anything by simply returning to what he does best, brutally and comedically self-deprecating his own shortcomings and successes. In short, Say Anything managed to succeed where “Life Of Pablo” fell short.

A surprise release full of bravado and grandeur that actually delivered on the self-congratulatory hype of it it’s creator.

Check out our review and photos of Say Anything’s concert!
REVIEW: Say Anything Brings It to Tempe 4-22-16