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Last Days of April – Ascend to the Stars

It may be the nostalgia that Last Days of April is trying to strum away, but I can’t help myself from floating on that California sunset in the middle of spring.



I’ve only heard one song by Last Days of April before listening to this album. That one song used to be the staple of my sister’s life. I would hear it everywhere. Now with their new album Ascend to the Stars, I can enjoy my sister basing her life around a whole album instead of just “Will the Violins be Playing?” With my only background knowledge of that one song, Ascend to the Stars is very much like their sound. A summertime favorite that makes you think of California coasts and sunsets. Last Days of April has developed from their melancholy tunes to an optimistic point of writing music. I’m not saying that they completely left their old sound behind, but transformed the gloomy “I watch the pouring rain” sound to an “anyone up for some sand and surf?”

Every time I listen to the song “When I’m Gone, Will You?” I find myself imagining some love scene in a movie. A slow strum of a chord starts the song with a slow beat of the drum. A few soft melodies from a piano give a good intro for the lyrics. It gives me those butterflies in my stomach just trying to fathom the situation the songwriter, Karl Larsson, must be going through. As the song heads into the chorus, it’s almost like a schedule of things to be done within the week is sung out; “Monday. Stay indoors. Tuesday. Wish you’d call. Wednesday. I’ll be fine without you. Thursday. I would call and on Friday. Regret it all. Sunday. Saturday’s a blackout.” Lyrics like these sound the steps to take when getting over an old boyfriend or a girlfriend. Either way, there is some constant sadness in the slow pace of the song as well as Larsson’s lethargic voice.

Then there is always the break from the sadness and into the happiness. A song like “All Will Break” captivates the less miserable side of Last Days of April. This is the hit song off of the album. You might think that after something so gloomy a musical head-bobber cannot appear, but they pull it off well. If listening closely, there is the hint of xylophone in the background of the mildly heavy guitar. Once again Larsson has more sadness than a chick flick sound in his voice, but when the chorus breaks out there’s a side of him that is revealed. It is like listening to two halves of the same man. It starts off with a little shy and quiet voice, something like “Dr. Jekyll.” Then the chorus comes out and his “Mr. Hyde” appears straining his voice for everyone to hear “all this time / I’ve spent time on spending time with you / I’ve spent time on being bound for you / I was there for you,” angry lyrics for a very somber man.

Before writing this review, I listened to the album one last time to see if I could find anything else I would like to recognize. While listening to the second song “Piano,” I realized a similarity to their other song “Will the Violins be Playing?” It hit me with a little taste of nostalgia. I wouldn’t be surprised if I start hearing this song every time I pass my little sister’s room, and in my car, and on the subway. It may be the nostalgia that Last Days of April is trying to strum away, but I can’t help myself from floating on that California sunset in the middle of spring.

(crank! A Record Company)


Alice Cooper – Breadcrumbs EP

Few frontmen of rock will ever be as enigmatic and as timeless as Alice Cooper



Alice Cooper Breadcrumbs

For a large number of Alice Cooper fans who didn’t experience everyone’s favorite snake-adorned shock rocker at the height of his powers through the ’70s, most probably were introduced to Cooper through 1989’s hair-metal infused generational breakout album Trash. That was at least, my introduction to Vincent Furnier, at the age of 9 years old, seeking for something to satiate my love of hair metal and shock rock. Trash was everything Bon Jovi’s New Jersey was- big, radio-friendly- but had that added sense of danger and darkness that didn’t come with the pretty side of hair metal. However, as sure as songs like “House of Fire“, “Bed of Nails“, and the ubiquitous hit “Poison”, are still great today, long-time Alice Cooper fans know that Cooper is at his most enthralling is when he taps into his garage rock lineage, cut from the same mold that was paved by bands like the MC5.

So for those born in the early 80s like myself, the initial foray into the world of Alice Cooper meant that you had to work your way back into this long-running discography to find the rich, often timeless work Cooper is best known for. In 2019 Alice Cooper himself is working his way back on his latest EP, the aptly titled Breadcrumbs. The 6-song EP finds Cooper revisiting music and artists connected thematically by what ties them all together- the Motor City. This Detroit-centric EP features Alice Cooper’s take on songs by Suzi Quatro, The Dirtbombs, Motown soul singer Shorty Long, and of course, The MC5 (the EP also features guest guitar and vocal work from Wayne Kramer). Included in the mix are a reworked version of the 2003 Alice Cooper song “Detroit City” and one new cut, “Go Man Go”.

On his reworked “Detroit City”, the song is given a rawer makeover, sounding far less produced than the original. Gone are the orchestral overdubs with the song relying more on the loud bluesy guitars- perhaps the way it was meant to sound. Suzi Q’s “Your Mama Won’t Like Me” stays fairly faithful to the original, but Quatro’s vocal sneer is replaced with.. well, Alice Cooper’s vocal sneer. MC5’s “Sister Anne” is almost as great as the original 1971version, with the added benefit of today’s production qualities.

The EP’s one new track, “Go Man Go”, is very much Detroit, and very much Alice Cooper. It’s rock n’ roll roots are coated with a little bit of rockabilly, a little bit of garage, a lot of attitude. Like this EP, the track should be a precursor of Alice Cooper’s anticipated next album. The hope is that he continues this work of keeping things dirty rock n’ roll as the results are more often than not, pretty great.

Few frontmen of rock will ever be as enigmatic and as timeless as Alice Cooper. Breadcrumbs is a noble effort meant to tease and build anticipation than satisfy your craving for all new Alice Cooper material. It’s done just that, hinting at what could be around the corner. On top of which it shows that there are few rock stars who will ever reach the status and longevity of everyone’s favorite rock n’ roll snake charmer.


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Goo Goo Dolls – Miracle Pill

The Goo Goo Dolls have always just written good music for people who cared only that the music was good



Goo Goo Dolls Miracle Pill

One of the most remarkable things about the Goo Goo Dolls is their steadfast consistency amongst the ever-changing backdrop of popular music. Six years ago when they released Magnetic, I wrote that the band remained unchanged in the face of their supposed “waning popularity” in the eyes of pop culture and radio charts. It’s true that many of their contemporaries that made it big alongside them in the late 1990s are long gone, but for the Goos, they’ve quietly continued to be above everything else, themselves, just older, wiser, and continuingly more refined. Miracle Pill is their 12th studio album and is the natural progression from 2016’s Boxes. Like their previous release, Miracle Pill continues their musical evolution away from alternative rock to the more serene territory of adult contemporary. Sure, it may sound like a bad thing, but like everything the Goos have done over the past 25 years, it’s supremely confident and composed.

They may not write songs with the caustic bite like “Here Is Gone” anymore, but they have been finding comfort in the more introspective pop-strewn melodies found in songs like “Lights”. Similarly, in the new album’s lead single and title track, the Goos tap into bouncy, easy-to-digest pop empowerment. Songs like “Indestructible” show that the band haven’t put down their guitars just yet, constructing songs that are still fond of their alternative rock roots but have found comfort in grander, more expansive sounds.

The album’s best moments are when the Goo Goo Dolls unashamedly tug on the heartstrings like they’ve done so many times before. The quiet jangly nature of “Over You” does this particularly well, while the bigger, electronic-infused arena rock of “Lost” shows that this type of music is just done extremely poorly by bands like Imagine Dragons. “Autumn Leaves” is a throwback to the kind of songs found on Let Love In and Dizzy Up The Girl, sounding organic and wistful, while the closing of “Think It Over” is the kind of song they’ve been hinting at since Something For The Rest Of Us. It’s part quintessential Goos, but contemporary and timeless at the same time.

Credit to the Robby Takac songs of the album too- “Step In Line”, “Life’s a Message”- both some of the finest songs Takac has written. He is often cast in the shadow of John Rzeznik’s more recognizable sound, but on Miracle Pill, his work is the best its sounded since Dizzy.

The Ringer recently wrote a piece titled ‘The Goo Goo Dolls Were Never the Cool Kids, but They’re Still Standing’. I echoed these sentiments in that Magnetic review years ago, but if there was anything long time Goo Goo Dolls fans know is that the band were never concerned about popularity or being “cool”. The problem with being cool in music is that it fades. The Goo Goo Dolls have always just written good music for people who cared only that the music was good. Not much has changed in that sense, and really, that’s much better than being cool.

(Warner Bros.)

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