When I landed the cover interview with Jimmy Stadt of Polar Bear Club for New Noise Magazine, I spent more than an hour on the phone with the vocalist, but I could obviously only fit so much in print. So I talked my editor into a main feature, and then two web exclusive pieces — one to be published on the New Noise site, and one to be published here at Bill Jones Ink. The first one just went up for New Noise, featuring an extended discussion on the band’s touring ethic. You can check it out by clicking here. Continue reading
Band: The Gaslight Anthem Album: The B-Sides Label: SideOneDummy // Release Date: Jan. 28, 2014 Rating: Review by: Bill Jones When The Gaslight Anthem released The ‘59 Sound, I would have wagered copious amounts of money that they would become the next big thing to come out of the punk rock scene. And in a manner of speaking they did, but the music didn’t keep up with the band’s meteoric rise. Everything that made The ‘59 Sound an exciting album was rehashed almost to the letter on the 2010 follow-up, American Slang. And then Handwritten barely even seemed worth attention. Continue reading
I recently finished a story on the Getty’s Open Content Program for Digital Trends. I’m pretty happy with the way it turned out. You can check it out by clicking here.
Band: Mustard Plug Album: Can’t Contain It Label: No Idea Records // Release Date: Jan. 14, 2014 // Tracked by: Cold War Studios // Engineered at: Blasting Room Rating: Review by: Bill Jones Maybe it was lack of any real expectations, but when Mustard Plug released its sixth studio album, In Black and White, in 2007 — roughly 15 years after its Skapocalypse Now! debut — it was a true surprise. The Michigan band, already well into its existence, delivered its finest full album to date. It was a refreshingly edgy sound by Mustard Plug standards, while maintaining and rejuvenating Continue reading
Band: Bayside Album: Cult Label: Hopeless Records // Release Date: Feb. 18, 2014 // Produced by: Shep Goodman, Aaron Accetta Rating: Review by: Bill Jones Bayside has built its name on several things — an identifiable brand of key and time changes, the shredding guitar work of Jack O’Shea and the distinct vocal stylings of Anthony Raneri, who harnesses the likes of Smoking Popes and Alkaline Trio when it comes to songwriting, in particular with choruses that don’t play much like what rock fans traditionally expect from choruses. And fans who wonder if the quartet’s latest jump to Hopeless Records Continue reading