One of the major turning points in my life was when I stopped listening to my dad’s music. At the age of seven, with two older brothers shoveling grunge, metal and punk into my eardrums, my music tastes switched drastically.
It’s about time we all started believing in ghosts. In the posthumous release of Valleys of Neptune, the phantom of Jimi Hendrix has entered the airwaves to show that forty years on, he still deserves one of the highest thrones in the pantheon of rock deities.
It’s easy to forget that there is a whole musical world out there full of artists who are taking their own traditional styles and fashioning them into contemporary masterpieces that challenge our preconceptions of what music is, has been and will be.
It’s probably too late to start liking Alkaline Trio. But for the many who count Goddamnit and Good Mourning as integral parts of their high-school soundtracks, the Trio’s most recent release, This Addiction, is the perfect opportunity to get reacquainted with these punk rockers.
Alkaline Trio’s last two releases, Crimson and Agony & Irony, saw them stepping away from their roots.
In a blur of breakups, overdoses and suicides, grunge died in the late '90s. What followed was a wave of aural garbage in the form of bands fronted by Eddie Vedder wannabes who just couldn’t cut it — Creed, Nickelback, 3 Doors Down and (unfortunately) the list goes on and on.
In the world of sellable indie rock, there is a thin line between chaos and bliss. With 1988's Daydream Nation, it was as if Sonic Youth had perfected the art of balancing between the two and, to show the world, plunged headfirst into their own amps.
Like a fine bottle of wine, the album should be ingested whole, but “Teenage Riot,” “Eric’s Trip” and “Trilogy” stand out as the standard bearers of Sonic Youth’s attempted aural uprising.