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Moments in Grace – Moonlight Survived

Moments in Grace’s Moonlight Survived is a strong album, especially for a debut. Get your fist ready.



Moments in Grace singer Jeremy Griffith has one of the best new voices in rock, almost like a youthful Ozzy Osbourne, but with a bigger range and better tone (and fewer obnoxious children). Griffith leads the band on one of the stronger debuts I’ve heard this year. The Florida-based foursome released a downloadable EP through Salad Days before signing to Atlantic, and producer Brian McTernan (Thrice, The Movie Life, Hot Water Music) gives Moonlight Survived a great feel with clever string arrangements and nicely placed background burps. Thick guitars penetrate each track and arena-rock drums make you want to throw your fist in the air. Or maybe just bob your head a little harder for those trying to play it cool. I’m not sure how to classify this band-“rock” is the best general description, though the band gets grouped with a lot of post-punk bands. How bout post-punk arena rock? Sure.

Almost every song is radio ready, but doesn’t sound forced. This is mostly due to Griffith’s lyrics, which tie the songs together into a real album, not just a collection of songs. Most anthemic choruses feel cheap after repeated listens, but the heartfelt words here give them staying power. The album opens with “Stratus,” maybe its strongest song: “Feeling the sunlight breaking down our souls / learning that love will soon be the sign / promise of new days, and a new day will be born.” “Through bloodshot eyes / I struggle to see the truth,” Griffith sings through the pulsating rhythm of “We Feel the Songs.” Most of the songs follow this path: melancholy, but with a healthy dose of hope thrown in so it doesn’t sound whiny. Add to this the themes of loss, regret, death and soul-searching, all the while pushing forward and vowing to never give up. Gatorade would be proud.

The downside is that the songs are pretty formulaic and can sometimes have you thinking the album is one long song (maybe that’s why they tie together so well…). McTernan would have done well to find the ground in between quiet and loud–you can throw your fist in the air to a huge chorus after a lulling verse only so many times. Some varied guitar sounds and more diverse vocal melodies would help to make each track stand out from the other. Griffith also needs to learn when not to sing; a little instrumental space could do wonders on certain songs.

That said, it’s a strong album, especially for a debut. Get your fist ready.

(Atlantic Records)


Crossed Keys – Saviors

Saviors shows the work of well-seasoned musicians finding new energy in old sounds



Crossed Keys Saviors

Philadelphia’s Crossed Keys are an interesting intersection between melodic hardcore and punk, taking an earnest approach to the sound that made its way from the underground in the late 90s and early 2000s. This relatively new outfit is the result of Kid Dynamite and Samiam in a blender- in the best way possible. The Kid Dynamite influence may be a given since Crossed Eyes features KD’s drummer Dave Wagenschutz, but the band’s pedigree also includes members of bands like Zolof the Rock & Roll Destroyer and The Curse, all backing the melancholic vocal work of frontman Joshua Alvarez (Halo of Snakes). So while Crossed Keys are somewhat new, its members have been cutting their teeth within their respective circles for years, and their new EP Saviors shows the work of well-seasoned musicians finding new energy in old sounds.

Saviors is backboned by the furious urgency and energy that Kid Dynamite showed through their history, but while Jason Shevchuk’s vocals were beautifully abrasive, Alvarez takes a more restrained, wistful approach to singing. Songs like the opening “Times of Grace” are musically up-tempo percussions and razor-sharp guitars, but are buoyed by Alvarez’s more melodic vocals. His vocals rest at a good place between Samiam’s Jason Beebout and that NYHC tone exhibited by bands like Token Entry and Grey Area. In songs like “R.J.A” and the closing title track, Crossed Keys find more success with their brand of blistering speed meets harmony- slowing down only for the kind of melancholic punk that made Samiam a noted name. While much of Saviors is built on pace, it wasn’t always this way for the band. In fact, their 2017 EP, I’m Just Happy That You’re Here, leans closer to Samiam than it does to Kid Dynamite (the song “Jeff Pelly vs. The Empire” is particularly fantastic), so there’s been an uptick of urgency with Saviors.

For fans of any of the aforementioned bands here, there is plenty to like with Crossed Keys and plenty to like in Saviors. It’s succinct, to the point, but filled with ample reflection and exploration that gives the EP depth and resonance. Any band that has found influence from Kid Dynamite is most certainly OK by us (this site is named after a KD song after all), but Crossed Keys does more than just tip their cap. This one’s a really good one, and worth your time.

(Hellminded Records)

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Every last time: Revisiting Gameface’s “How Far Is Goodbye?”

A glorious sound of a time gone by



Southern California’s Gameface were always a band that seemed perfect just below the cusp. Their brand of pop-tinged punk was somewhere in between the melancholy driven emo of the early 1990s to what would become of radio-friendly punk bands evolving from the Jimmy Eat Worlds of the… world.

I loved this band. It was songs like “My Star” and “When You’ve Had Enough” that captured my attention. They didn’t fit in with the punk explosion of the mid-90s and had more melodic chops than those that remained in the underground with bands like Quicksand and Texas is the Reason (the latter being the most musically similar).

To this day, I count their track “How Far Is Goodbye?” as one I can listen to on any given day and still feel the same way about it as I did years ago. It’s a glorious sound of a time gone by, and Jeff Caudill, who has been the backbone of their songwriting since the beginning, has still got the chops his ilk can only dream of. There’s a tinge of melancholy that conjures up a certain sadness, a scene in a movie where the protagonist is making their exit into the distance as the scene closes. Something about the song, the sentiment, and the lyrics that always reminds of driving away while looking at the rear view mirror.

Five years ago Gameface released a new album, Now Is What Matters, an album that perfectly encapsulated their ability to write with emotion, melody, and magnetism that only a select few seem to possess. I interviewed frontman Jeff Caudill before the album came out to chat about the band, an interview I think still holds up. Caudill has been busy since then with a lot of solo material, while the band themselves have been releasing music sporadically (mostly singles) since 2014.

While their catalog is deep, there’s one song I keep coming back to, and that’s “How Far Is Goodbye?”. Originally released on the split 10″ vinyl with Errortype: 11 in 2000, the song received an update in 2018, which you can hear below.

Gameface photo from Gameface facebook page.

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