Jun 4, 2013 - EXDO
Door Time: 7:00 PM
Presented By: Channel 93.3 & ForTheLoveOfPunk

Day: Tuesday, June 4, 2013
Door Time: 7:00 PM
Location: EXDO
1399 35th St Denver CO
Age: 16 and over
Advance Ticket Price: $24.99
Day Of Show Price: $29
Buy Tickets
Moved from Summit Music Hall, all tickets will be honored.

Alkaline Trio
From the opening seconds of the title track of Alkaline Trio’s seventh studio album This Addiction, it appears the Chicago-bred threesome may have found the place its entire career has been leading. While the album’s opener blazes at a tempo reminiscent of the band’s 1998 debut Goddamnit and features a signature Matt Skiba lyric of fatal co-dependency, the whole affair feels strangely... comfortable? By the time second track “Dine, Dine My Darling”--if you don’t get the joke, it’s probably not worth explaining—kicks in with Dan Andriano providing his traditionally lighter foil to Skiba’s obsidian musings, it’s clear: Alkaline Trio has settled into an unforeseeable maturity—at least by Alkaline Trio standards—and it suits them just fine.

Whether pervading the darkly perverse Blue Velvet-inspired strains of Skiba’s “Dorothy” or Andriano’s sardonic “Fine,” this newfound air of ease owes no small debut to the circumstances of This Addiction’s release. The album’s Feb. 23, 2010 release will be the first physical manifestation of Alkaline Trio’s own Heart & Skull label, formed in partnership with its longtime fans and friends at Epitaph Records. Named for the imagery of the Alkaline Trio logo seen on so much of the band’s album art, merchandise, and tattooed on the bodies of its Blood Pact fan club members across the world, Heart & Skull represents the band members’ new level of control of their own destiny (all three are partners in the label). Having released its previous albums through virtually every other label permutation the business has had to offer—early EPs and albums on tiny indies Johann’s Face and Asian Man, hundreds of thousands of records sold on Vagrant, and 2008’s Agony & Irony, the band’s highest charting record to date, released by Epic—Alkaline Trio finally and truly feels at home.

“Taking control of our own label situation was something we always wanted to do but never thought was possible,” says Skiba. “But now thanks to Brett Gurewitz and the fine folks at Epitaph, it is. All three of us in Alkaline Trio have always had the utmost respect for the music and the work ethic of the Epitaph, Anti- and Hellcat family and now we’re honored to be working together under one big happy roof. Heart & Skull/Epitaph is truly a dream come true for us.”

Andriano adds, “For our band at this time it really makes sense to release our own records, but we wanted to make sure we could partner up with good people who we would want to share in something very special to us. When Brett called and said he wanted to be involved, that was it. Epitaph is a label I’ve admired and supported for more than half of my life! I couldn’t be more excited for how this is turning out!”

As big as an impact as the building of the Heart & Skull/Epitaph dream home may have had, This Addiction would still be Alkaline Trio at its most confident and accomplished. Fans who caught the band on its 2009 tour witnessed the live debut of highlights including the title track, “Dead On The Floor” and the aforementioned “Dorothy” and “Dine, Dine My Darling,” all of which built on already rabid anticipation for the record. What’s been delivered has exceeded fans—and the band’s—expectations. From the vintage Alk3-style workouts of “Off The Map” and “Piss and Vinegar” to the gloomily expansive “Draculina,” the entire record is stellar, the kind of classic punk confection whose 35 or so minutes whiz by all too fast, virtually demanding repeated listens.

Then there’s This Addiction centerpiece “The American Scream.” Highlighting every previous Alkaline Trio strength and evincing some the band members may not have previously known they had, “The American Scream” may well be the closest thing to a definitive Alkaline Trio anthem. As the son of two Vietnam veterans, the song’s inspiration held particular significance for Skiba: “’The American Scream' was inspired by a story I read in the news of an American soldier returning from a tour of duty overseas and committing suicide at his mother's gravesite. The suicide was believed to be a result of Post Traumatic Stress Disorder and the soldier's inability to return to ‘normal’ life after experiencing the atrocities of war. It's not a protest song or intentionally political but it was something that stuck with me.”

Alkaline Trio formed in 1996 in McHenry County, Illinois, northwest of Chicago. Skiba is the sole surviving member of the short-lived original lineup, which featured bassist Rob Doran and drummer Glenn Porter. Doran left following the 1997 release of the band’s debut EP Sundials and was replaced by Andriano who made his recorded debut on 1998’s For Your Lungs Only EP. The Trio’s popularity built in and beyond the midwest, finding it signing to the small indie Asian Man and releasing its first two albums, Goddamnit in 1998 and Maybe I’ll Catch Fire in 2000, as well as a self-titled compilation of the early EPs and other odds and ends, also released in 2000.

Alkaline Trio’s following continued to grow in size and scope, especially with the 2001 release of From Here To Infirmary on larger indie Vagrant. Featuring the addition of former Smoking Popes drummer Mike Felumlee to the Alk3 line-up, it would be the band’s first record to crack the Billboard Top 200 and the six-figure sales mark on the strength of worldwide touring and response to classic tracks like “Stupid Kid” and “Private Eye.” Good Mourning followed in 2003, debuting at #20 on the Top 200 and #1 on the Independent Albums Chart, as “We’ve Had Enough” became the band’s first single to chart in the U.S. And second single “All On Black” would be performed on Alkaline Trio’s first ever network TV appearances, on Late Night With Conan O’Brien and The Late Show With David Letterman respectively. Crimson would be Alkaline Trio’s fifth studio album and last for Vagrant. Buoyed by “Time To Waste,” “Mercy Me” and “Burn,” the record was the Trio’s second to debut in the Top 30 and was followed by the Vagrant release of the 2007 odds and ends compilation Remains.

Alkaline Trio’s first and last major label release would be 2008’s Agony & Irony. The album hit #13 on the Billboard chart, making it the highest charting of the band’s 14-year career, while single “Help Me” would become its highest charting single, reaching #14 on the Modern Rock Tracks chart. By 2009 however, reshufflings and layoffs at Epic led to Alkaline Trio negotiating its release from the label.

All of which brings us to where Alkaline Trio is today: Anticipating the release of an album which with the couldn’t be more satisfied through a 100% ideal label situation. Though Skiba sings on the new album’s “Draculina”: “I wish to dwell, I long to be in the blood and guts with the birds of prey and the stinging of bees...” Perhaps for once he’s happy exactly where he is—by Alkaline Trio standards, of course.

BaysideBayside fans don’t call their relationship with the band a “Cult” for nothing. After a string of much-adored releases, Bayside has one of the most dedicated fan bases in rock, and the group steadfastly rewards those devotees with the musical salvation they seek. Six albums and more than a decade later, Bayside has never lost touch with that mission and, in fact, they’ve only grown bigger. While veteran bands take breaks and regroup, Bayside haven’t taken that route and instead, soldiered on, building up and growing more and more into themselves… to the point in which they are the most “Bayside” that they have ever been. The fact that their audience has grown is testament to that.
Now continuing that legacy is the band’s latest creation, an explosive 11-track collection that captures Bayside in prime form, combining classic elements from throughout their career. Guaranteed to rock the faithful, the new release is appropriately entitled Cult.
“When we were done with the record we were like, ‘This is every Bayside record,’” explains singer/guitarist Anthony Raneri. “It has the honesty and rawness that we’ve had since Sirens And Condolences, and those risks: those weird key and time signature changes, and the different styles of music we explore. The Bayside ‘Cult’ is something our fans have been talking about for a long time, and it seemed like a good name for a greatest hits album, which is kind of what this is: a Bayside discography. On the cover, there are even little symbols to signify each album.”
That’s a lot of history for an album cover. The band—which also includes lead guitarist Jack O’Shea, bassist Nick Ghanbarian and drummer Chris Guglielmo—formed in the winter of 2000 in Queens, NY, undergoing numerous lineup changes in the early years. At first through Raneri’s sheer persistence and dedication Bayside progressed, eventually cutting two embryonic EPs with Dying Wish Records. Those efforts bore fruit, leading to a contract with Victory Records in 2003, resulting in the band’s 2004 full-length debut, Sirens & Condolences. But it was just the beginning, and the group released three more quintessential LPs with Victory, cementing their place as one of the most important bands in the modern underground music scene—Self-Titled (2005), The Walking Wounded (2007) and Shudder (2008)—then briefly moved on to Wind-Up Records in 2010 for Killing Time (2011), their most widely visible album to date. After that record cycle Bayside opened another exciting new chapter in their career, signing with punk powerhouse Hopeless Records in 2013. Cult marks the band’s first Hopeless release.
For latest effort Cult, Bayside spent roughly two years writing new material, then returned to producer Shep Goodman (who’d previously helmed two of Bayside’s most beloved releases, Self-Titled and Walking Wounded), as well as Goodman’s production partner, Aaron Accetta. Raneri says Goodman was a catalyst for the band’s obvious progression from debut Sirens to sophomore album Self-Titled, and this latest collaboration sought to rekindle that spark.
“Shep was very instrumental in teaching me about songwriting. He taught me a lot about drawing a listener in and getting inside the mind of the listener, and not just sitting down with a guitar and playing whatever comes to mind,” says Raneri. “He’s sort of my mentor as far as songwriting goes. I loved working with Gil Norton on the last record [Killing Time]—he’s a legend, and it was an amazing process—but with this record, I really wanted to get back and hone in, try to get better at my songwriting again. I knew that working with Shep has always done that for me.”
Sonically, Cult is perhaps the band’s most confident and resonant work to date, featuring turbocharged rhythms and the consistently blistering guitar work of six-string whiz O’Shea. But as much as the album is a return to the band’s musical sweet spot, on the other hand Cult’s lyrical content breaks new thematic ground, showcasing Raneri’s ongoing personal growth as both the man and the songwriter. Instead of dwelling on past romantic failings, this time the lyricist points his pen at the hard matters of life and death, having recently lost his grandfather, stepfather and stepbrother.
“[Cult] is pretty different because it’s not about broken relationships as much as other records; on a personal level, my relationship has been great, my marriage is good and I’ve started a family. Instead a lot of this record deals with mortality, without it being morbid,” says Raneri. “I lost a lot of people who were close to me, and it really just started making me think a lot about what my legacy was going to be. What am I going to leave behind and what is my entire generation going to leave behind? What are they going to be saying at funerals 40 years from now? It’s wondering if life is about leaving a legacy. Is that what we’re all here for: living a life worth remembering?”
Raneri channels these universal existential questions into personal inspiration on tracks like first single “Time Has Come,” which finds the singer challenging himself to rise to the occasion over intricately interwoven guitar lines. “It’s meant to be more of an uplifting thing,” says Raneri. “If I want to make something of myself, build a legacy, accomplish something, then I’ve got to just go do it. The time is now to do something if you ever plan on it.”
Other tracks like “Stuttering” and “Bear With Me” put the music business under the microscope, as well as Bayside’s place within it. “[“Bear”] has a lot to do with my career and my legacy as a musician. You look at bands like mine, and it’s hard to ignore that a lot of pop-punk or mid-2000s emo bands just sort of disappeared,” says Raneri, who’s instead had the good fortune of seeing Bayside’s popularity continually grow. “Fortunately for us our band has been able to make it through a lot of that. There are definitely days when I feel like I’m a novelty, but like the line in the song, I think I’m twice the man I used to be.”
Even when Raneri does return to issues of the heart, he does so with a newfound perspective. A prime example is the song “Transitive Property,” which Raneri wrote during Warped Tour 2012 for his girlfriend—now his wife—as a heartfelt apology, as the couple was on the verge of a breakup. Although never intended for public ears, when bandmates heard the song they insisted it be included on the new album.
“That’s the most personal song I’ve ever written. It’s like sharing a letter to the world; sharing my actual diary that I didn’t think anybody would see,” Raneri says. “I always write a song with the intention of sharing it, but that lyrically was the first song I wrote that was so personal because I thought nobody would ever hear it. I think it’s a great song; one of the best songs I ever wrote.”
Bayside has already toured the world many times over, sharing stages with a virtual “who’s who” of like-minded artists and enjoying regular main-stage spots at major festivals like Warped Tour, but the band’s plans for the coming year are no less ambitious. After Cult drops in February, Bayside will head out on a U.S. headlining tour, then travel to Europe with Alkaline Trio in the spring. From there Bayside will likely play still more high-profile North American dates during the summer of 2014.
“I’m excited about the tour, because it’s sort of a combination of underplayed and big shows,” says Raneri. “We’re in certain cities playing bigger venues than we’ve ever played, and in some cities we’re playing in smaller venues.”
Now six full-lengths into their career, making the setlist each night gets tougher than ever. Raneri says the band is cautious of including too much new material live, for risking of disappointing fans awaiting the classics, but once listeners have Cult in their hands it’ll be easier to gauge which new tracks to perform. Inevitably though, Cult will stand up well next to past material. If there’s one thing immediately clear, it’s that Cult is as classic Bayside as it comes.
“We don’t play anything we don’t want, but at the same time, we listen to our fans, and we know what makes Bayside, Bayside. We try to grab all those things that we all love about Bayside and try to do more of them,” says Raneri. “People’s lives change. You go from high school to college to adulthood to parenthood, and everything in your life changes, except there’s always going to be a new Bayside record, and you can always go home.”


Off With Their Heads
Off With Their HeadsOff With Their Heads is a punk rock band from Minneapolis that has included members of bands such as Rivethead, Dillinger Four, and more. Most of their releases have been splits, 7” singles and EP’s, notably the Hospitals 12” EP in 2006. In 2007 they released the compilation All Things Move Towards Their End which collected songs from their splits as well as compilation contributions from 2003 - 2006, most of it previously only available on vinyl. Their first full-length, From the Bottom, was released on No Idea Records in 2008. In 2010 Epitaph Records released In Desolation and shit is bitchin’.

Erin Cookman
Erin CookmanFor such a young artist, Fort Collins local musician Erin Cookman demonstrates a surprising amount of maturity and talent in her recent release of Ha Ha Ha. Certainly, it is a somewhat simple project, a young woman accompanied only by her acoustic guitar. However, Cookman’s voice emanates a clear confidence and fortitude, backed by modest chords. The five-song release radiates a sense of subtle defiance and independence, proudly insisting on the album’s title track, I won’t waste my time on you/I promise you I promise me too/I’ve got better things to do. Cookman sings, ironically, with an extremely beautiful voice throughout the album, of subjects enveloped in anger and betrayal, nostalgia and pain. A notable musician indeed, Cookman will open for the Alkaline Trio in the coming months in Denver.