Everything Feels Alright: The Promise Ring’s ‘Very Emergency’
The Promise Ring’s Very Emergency succeeds by subverting expectations but delivering ten nuggets of power pop and a rebuke of the emerging emo tropes.
The Promise Ring’s Very Emergency succeeds by subverting expectations but delivering ten nuggets of power pop and a rebuke of the emerging emo tropes.
“I fit through a pinhole of success,” notes indie rock titan Tim Kasher on Cursive’s ninth full-length album. “I’m lucky as hell that I’m able to do this.”
Devourer‘s songs are the best Cursive have released since 2003, balancing a noisy attack and withering lyrics with some of their prettiest, accessible tracks.
Ogbert the Nerd sound exuberant. There is a beating heart and pathos under the hooks, and they have much to offer listeners outside of emo’s ardent fans.
That All Hell is another high-quality release is not the least bit surprising; it’s Los Campesinos!’s best record and likely one of the finest of the year.
Joyce Manor’s ‘Never Hungover Again’ still sounds urgent and endlessly replayable cranked up loud with the windows down, and it will stay that way.
By putting Joan of Arc’s collected works in a dynamic box set, Tim Kinsella gauges how fans and critics are reconciling with the band’s work with modern ears.
When Sunny Day Real Estate released Diary 30 years ago, they inadvertently cemented the personalized and sympathetic elements of emo.
There are few things more thrilling in music than hearing a band reach another level of mastery of their craft, and Snarls sound positively inspired on With Love.
The Hotelier’s harrowing Home, Like Noplace Is There is a defining record of the emo revival. It can make us feel less alone in our darkest moments.
Jimmy Eat World’s career has looked increasingly like that of bands they admire. They keep a devoted fan base happy with incendiary, hit-packed live sets.
In Keeping Secrets of Silent Earth: 3 set the template for nerdy Coheed and Cambria’s future releases. It remains a fan favorite and one of their best.