Tag: Outside Lands Festival

Lyric Video: Joseph’s Soaring and Anthemic “Green Eyes”

Deriving their name from their grandfather Jo and the tiny Oregon town of  Joseph, OR, in which he was born and raised, the  Portland, OR-based sibling indie pop trio Joseph, comprised of Natalie Closner Schepman and her two, younger twin sisters Meegan and Alison grew up in a musical household — their dad was a jazz singer and drummer, their mom a theater teacher. However, their collaboration together can trace their origins back to around 2014: Schepman who had been pursuing a career as a solo career as a singer/songwriter recruited her sisters to join her.  And when the Closners began collaborating together, they quickly recognized an irresistible and undeniable simpatico. 

The trio quickly developed a reputation for playing intimate house shows, in which the siblings accompanied themselves with acoustic guitar and foot drum and within their first year working together, the trio self-released their debut, 2014’s Native Dreamer Kin, which caught the attention of ATO Records, who signed the group the following year. After releasing 2015’s, ATO Sessions EP, an acoustic, two song, digital EP and accompanying video series, the sibling trio went on to release their Mike Mogis-produced, label debut 2016’s I’m Alone, No You’re Not, which featured the smash hit “White Flag.” “White Flag” landed on Spotify’s US Viral Top Ten Chart within days of its release. By October, the track landed at #1 on the Adult Alternative Charts. 

Building upon a rapidly growing profile, the trio made appearances on The Tonight Show Starring Jimmy Fallon, Later . . . with Jools Holland, The Ellen DeGeneres Show, Conan, CBS This Morning and Today. They also opened for James Bay during a sold out, 2016 arena tour — and they made festival stops at Coachella, Lollapalooza, Bonnaroo, Newport Folk Festival, Sasquatch Festival, Glastonbury Festival, Outside Lands Festival, Pilgrimage Music Festival and several others. 

Slated for release next week, The Closer’s highly -anticipated Christian “Leggy” Langdon-produced follow up to I’m Alone, No You’re Not reportedly finds the trio pushing their sound as the material finds them embracing a grittier, much more dynamic sound — while retaining the gorgeous harmonizing that won them attention. “The through-line of the album is this idea of moving into the driver’s seat of your own life-recognizing that you’re an adult now, and everything’s up to you from this moment on,” Natalie Closner Schepman says in press notes.  “You’re not completely sure of how to get where you need to go, and you don’t have any kind of a map to help you. It’s just the universe looking down on you like, ‘Good luck, kid.'”

“Green Eyes,” Good Luck, Kid’s latest single finds the siblings meshing classic, Phil Spector Wall of Sound-era pop with elements of old school country and contemporary pop as it features twinkling piano, strummed guitar, dramatic drumming, and an enormous hook — with the primary focus being the trio’s gorgeous harmonizing. And while being a slickly produced, radio friendly pop confection, the song reveals some incredibly earnest yet ambitious songwriting. Simply put, this is an act actively attempting to take over the world with carefully crafted pop rooted around personal and lived-in experience. In this case, much like some of the sources that seem to influence it, “Green Eyes” is an aching love song in which its narrator recognizes that their relationship is at a major crossroads. 

“You’re starting to sense this person slipping away from you and you explain how it’s ok if they’re questioning,” Natalie Closner Schepman says about the track. “You assure them that you feel certain and you’ll be right over here waiting for them to see what you see.”

The recently released, animated lyric video features the band in a Speed Racer-like animation, in which the ladies cruise an alien-like world of purple skies and neon-green moonlight. 

Live Footage: Mavis Staples Performs “We Get By” on “CBS This Morning Saturday Sessions”

Over the past few years, I’ve written a bit about the legendary, Chicago-born singer, actress, and civil rights activist Mavis Staples and throughout a music career that has spanned over eight decades, several different genres and styles as a member of The Staple Singers and as a solo artist, Staples has had achieved commercial and critical success, as well as a proverbial boatload of accolades. Staples has been nominated for eight Grammy Awards with the Staples Singers, winning one — a Lifetime Achievement Grammy in 2004. She received a Grammy nod for a collaboration with Bob Dylan. And as a solo artist, she’s been nominated for five Grammys, winning two — Best Americana Album for 2010’s You Are Not Alone and a Best American Roots Performance for  2015’s”See That My Grave Is Kept Clean.” The legendary, Chicago-born vocalist has also been nominated for 11 Blues Music Awards, winning nine, including Album of the Year for 2004’s Have A Little Faith, which featured Song of the Year and album title track “Have A Little Faith.” She’s also won three Soul Blues Female Artist Awards — one in 2004 and back to back wins in 2017 and 2018. And let’s not forget that Mavis was inducted into the Rock & Roll Hall of Fame as a member of The Staple Singers in 1999, was a Kennedy Center Honoree in 2016 and inducted into the Blues Hall of Fame in 2017. 

Staples turns 80 next month — July 10, 2019 — and while many artists at her age and with her achievements would have understandably begun to slow down, the legendary vocalist has managed to be wildly prolific, releasing three, critically applauded albums in her late 70s with Wilco’s Jeff Tweedy. Her latest album, the Ben Harper written and produced, We Get By was released by her longtime label home Anti- Records a few weeks ago, and as the legendary vocalist says in press notes, “When I first started reading the lyrics Ben wrote for me, I said to myself, ‘My God, he’s saying everything that needs to be said right now. But the songs were also true to my journey and the stories I’ve been singing all my life. There’s a spirituality and an honesty to Ben’s writing that took me back to church.”

“I come from a family of Mavis fans,” the multi-Grammy nominated and multi-Grammy winning Ben Harper explains in press notes, “so her music has been woven into the fabric of my life from the very start. When I got the call for this gig, it felt like my entire career, everything I’d ever written, had been pre-production for this.” 

The imitable Mavis Staples was recently on CBS This Morning’s Saturday Sessions where she and her backing band performed the uplifting album title track”We Get By.” Naturally, the track is what Staples has long specialized in: heartfelt, uplifting spirituals centered around lived-in experience — particularly, finding some way to survive in a difficult and uneasy world with your dignity, sanity and spiritual life intact. 

New Video: JOVM Mainstay Geographer Releases a Wistful Visual for Soaring and Plaintive “Summer of My Discontentment”

JOVM mainstay Mike Deni is a New Jersey-born, Los Angeles, CA-based singer/songwriter, multi-instrumentalist, electro pop artist and producer, best known for his solo recording project Geographer. As the story goes, Deni relocated to San Francisco while living in the aftermath of the sudden and tragic death of his sister — and then the equally unexpected death of his father. While sleeping on a floor of a friend’s Haight-Ashbury apartment, Deni serendipitously found a synthesizer on the street and began to channel his grief and optimism into the songs that would eventually comprise his full-length debut 2008’s Innocent Ghost. And through the release of two more full-length albums 2012’s Myth, 2015’s Ghost Modern and three EPs, 2010’s Animal Shapes EP, 2015’s Endless Motion EP and last year’s Alone Time EP, Deni has received attention across the blogosphere for his unique, textured and soulful blend of analog, electronic  and acoustic elements, a sound that he has described as “soulful music from outer space.” 

Building upon a growing profile, Deni has toured with the likes of K. Flay, The Flaming Lips, Young The Giant, Tycho, Ratatat, Betty Who and Tokyo Police Club, and he played sets at Outside Lands Festival and Firefly Festival. Interestingly, last year the JOVM mainstay gave up his San Francisco apartment and hopped between tours and friends churches for the next six months, including a month stay back in Jersey and a few weeks in Italy (where both sides of his family are from). And he did that before finally relocating to Los Angeles. During that period of shiftlessness in which he was in limbo between his old life and new life, Deni wound up writing the material, which would eventually comprise his recently released New Jersey EP. 

Many of the songs of the New Jersey EP began in his childhood home and were finished at a friend’s Los Angeles home while he was looking for an apartment; in fact, the EP’s first two singles “Love is Wasted in the Dark” and its latest single “Summer of My Discontentment” were part of the first batches of material written during that period. “Summer of My Discontentment” is a perfect example of the JOVM mainstay’s specialty — swooning and earnest 80s-inspired synth pop, centered around a twinkling and arpeggiated piano, thumping beats, a soaring hook and Deni’s plaintive and aching vocals; but unlike some of his previously released material, the song possesses a wistful air that comes from nostalgia for a long-gone, seemingly simpler time that you can’t have ever again — and the dreams your younger self may have given up for the compromises of adulthood. 

Directed by Patrick Mattes, the recently released accompanying video follows a group of young people, full of youthful hopes and dreams on a gloriously sunny day while Deni broodingly sings the song from a different vantage point, during sunset. In some way, the video implies that the action are the reflections and reminiscing of the video’s central character — from the perspective of a complicated adulthood. 

New Audio: JOVM Mainstays Holy Ghost! Releases a Funky Two-Step Inducing Single

I’ve written quite a bit about the New York-based electro funk/neo-disco production and artist and longtime JOVM mainstays Holy Ghost! over the years, and as you may recall, l, with the release of the their first three full-length albums — 2011’s self-titled debut, 2013’s Dynamics and 2014’s remix album Work For Hire — the duo, which is comprised of Alex Frankel and Nicholas Millhiser received attention nationally and internationally. Building upon a growing profile, the duo have remixed the work of Katy Perry, LCD Soundsystem, Moby and a lengthy list of others; made national TV appearances on Jimmy Kimmel Live! and The Late Show with David Letterman; toured with the legendary New Order; and played sets at some of this country’s and the world’s biggest festivals including Coachella, Outside Lands, Primavera Sound and Bonnaroo.

Work, the duo’s first batch of new, original material in over five years reportedly finds Frankel and Millhiser attempting to revisit the freedom of expectations that was suffered through their earliest recorded output — and interestingly, the proverbial return to form partially stemmed from circumstances: the duo dismantled their basement Brooklyn studio and relocated to a small room that a few musician friends of theirs were renting about a doctor’s office (coincidentally, the same address where they mixed their full-length debut). Because of the room’s limited space, they pared their extensive gear collection down to two synths — a Yamaha CS-80 and a Mini Moog. “Not necessarily the bare necessities, but what would make for the most interesting limited palette,” says Millhiser. “David Bowie didn’t have every fucking synthesizer on earth to make Low. He had two. And that’s one of my favorite synth records of all time.”

Slated for a June 21, 2019 release through West End Records, the forthcoming album’s material will continue the duo’s long-held reputation for crafting each sound from scratch with an unapologetic, exacting precision — and it’s their analog approach to electronic music that heavily informs the songwriting, production and sound of the album. Interestingly, album single “Los Angeles” was centered by shimmering and arpeggiated synths, a motorik groove, ethereal crooning, thumping beats and a sinuous yet infectious hook — while seemingly indebted to From Here to Eternity . . . And Back-era Giorgio Moroder and Kraftwerk. Interestingly, Work’s latest single “Do This” is another straightforward club banger that meshes early hip-hop, house music and disco in a way that recalls Sugarhill Gang, Nile Rodgers and Pet Shop Boys– thanks in part to arpeggiated synths, a sinuous bass line, a two-step inducing hook and plaintive vocals.  

New Audio: JOVM Mainstays Holy Ghost! Release a Club Banger off Forthcoming New Album

I’ve written a bit about the New York-based electro funk/neo-disco production and artist duo and JOVM mainstays Holy Ghost! over the years. Now, as you may recall, with the release of the their first three full-length albums — 2011’s self-titled debut, 2013’s Dynamics and 2014’s remix album Work For Hire — the duo, which is comprised of Alex Frankel and Nicholas Millhiser received attention nationally and internationally. And a result, they’ve remixed the work of Katy Perry, LCD Soundsystem, Moby and a lengthy list of others; made national TV appearances on Jimmy Kimmel Live! and The Late Show with David Letterman; toured with the legendary New Order; and played sets at some of this country’s and the world’s biggest festivals including Coachella, Outside Lands, Primavera Sound and Bonnaroo.

Work the duo’s first batch of new, original material in over five years reportedly finds Frankel and Millhiser attempting to revisit the freedom of expectations that was suffered through their earliest recorded output — and interestingly, the proverbial return to form partially stemmed from circumstances: the duo dismantled their basement Brooklyn studio and relocated to a small room that a few musician friends of theirs were renting about a doctor’s office (coincidentally, the same address where they mixed their full-length debut). Because of the room’s limited space, they pared their extensive gear collection down to two synths — a Yamaha CS-80 and a Mini Moog. “Not necessarily the bare necessities, but what would make for the most interesting limited palette,” says Millhiser. “David Bowie didn’t have every fucking synthesizer on earth to make Low. He had two. And that’s one of my favorite synth records of all time.”

Unsurprisingly, Work’s material continues the duo’s long-held reputation for crafting each sound from scratch with an unapologetic, exacting precision — and it’s their analog approach to electronic music that heavily informs the songwriting, production and sound of the album, which is slated for a June 21, 2019 release through West End Records. Work’s latest single “Escape From Los Angeles,” is centered by shimmering and arpeggiated synths, a motorik groove, ethereal crooning, thumping beats and a sinuous yet infectious hook — and while seemingly indebted to From Here to Eternity . . . And Back-era Giorgio Moroder and Kraftwerk, the New York-based JOVM mainstay’s latest single may arguably be their most straightforward club bangers in some time. 

 

 

Scott Hansen is a San Francisco, CA-based songwriter, multi-instrumentalist, producer, and electronic music artist, best known for his critically applauded and commercially successful solo recording project Tycho, and with the release of  2006’s Past Is Prologue, 2011’s Dive, 2014’s Awake and 2016’s Epoch, Hansen has developed a reputation for crafting material centered around vintage, analog synthesizers, ambient melodies, organic instrumentation and the frequent use of samples of the human experience, including weather broadcasts, talking, breathing and the like.

“Horizon” off Hansen’s Grammy-nominated 2016 full-length Epoch is a funky yet moody and introspective track centered around layers of arpeggiated synths, thumping, tweeter and woofer rocking beats, shimmering guitars, a sinuous bass line and an atmospheric melody.

Interestingly enough Hansen recruited Poolside, a Los Angeles-based electronic music artist, production and DJ duo, comprised of Filip Nikolic and Jeff Paradise, best known for crafting breezy, pop-tinged disco to remix “Horizon.” And the result is a breezy and summery, cosmic disco track with handclaps, a looped chorus sample, tribal percussion that creates a club banging vibe while retaining the atmospheric melody of the original. As Poolside’s Jeffrey Paradise explains “”It’s tricky to approach a Tycho remix because there are no vocals. By definition a remix would typically strip away the textures and layers, which are the signatures of Tycho, and use the vocals. We kept the original melody as the fingerprints and added classic Poolside synths and percussion. This remix essentially became a Poolside B-side through the process.”

Hansen and his backing band will be touring through the summer and it’ll include stops at Lollapalooza, Outside Lands and SummerCamp Music Festival. Check out the tour dates below.

 

Tour Dates:

15 MAY Sacramento, CA – B Street Theater

16 MAY Eugene, OR – McDonald Theater

17 MAY Spokane, WA – Knitting Factory

18 MAY Boise, ID – Knitting Factory

19 MAY Salt Lake City, UT – The Depot

21 MAY Morrison, CO – Red Rocks +

22 MAY Albuquerque, NM – Villa Hispana *

23 MAY Phoenix, AZ – The Van Buren *

24 MAY San Diego, CA – Cal Coast Credit Union Open Air Theater *

27 MAY Chillicothe, IL – Summercamp Music Festival

02 AUG Chicago, IL – Lollapalooza

11 AUG San Francisco, CA – Outside Lands

 

* w/ Phantogram

+ w/ Phantogram & Poolside

 

Currently comprised of Kyle Morton (vocals, piano, guitar), Tony Tanabe (bass, vocals), Dave Hall (guitar, vocals), Shannon Steele (violin, vocals), Jef Hufnagel (violin, vocals), Pieter Hilton (drums, vocals), Alex Fitch (drums, vocals), Tyler Ferrin (horns, guitar, piano, vocals), Ryan McAlpin (trumpet, vocals), Eric Stipe (trumpet, vocals) and Devin Gallagher (percussion, ukelele, vocals), the 11 member Portland, OR-based indie act Typhoon has received attention for a sound that meshes elements of indie rock, baroque pop  and orchestral pop as their material is rooted around complex arrangements and lush orchestration, as well as a penchant for restless experimentation with various styles including classic sea shanties, Country and Western, Eastern European folk and others. And unsurprisingly, they’ve drawn comparisons to Frightened Rabbit, Bright Eyes, Beirut and Arcade Fire among others. Along with that, they’ve received attention for live sets that routinely feature 12 (or more) musicians performing on stage. However, with the release of Hunger & Thirst and A New Kind of House EP the collective’s material revealed an increasingly consistent sound paired with a greater attention on crafting a thematic through-line — with much of their material based around a preoccupation with mortality, based primarily around (and making references to) Morton’s childhood struggles with Lyme Disease.

Adding to a rapidly growing local and national profile, they’ve had their music appear on SyFy’s Being Human, NBC’s Chuck and the major motion picture Veronica Mars, and they’ve opened for the likes of The Thermals, Quasi, Yann Tiersen, Explosions in the Sky, The Decemberists, Belle and Sebastian and The Shins and have toured with Lady Lamb the Bee Keeper, Portugal, the Man and Grouplove. Thanks in part to the success of album single “The Honest Truth,” which was ranked #3 in Paste Magazine‘s Top 50 Songs of 2011 List, and 2013’s White Lighter, which reached #105 on the Billboard 200, #2 on the Heatseekers and was 37 on Paste’s Best Albums list, the members of the collective played sets at 2014’s Lollapalooza and Outside Lands.

After the release of 2015’s live album, Live at Crystal Ballroom, which features the band playing material from off Hunger & Thirst and White Lighter, Morton released his solo debut What Will Destroy You — and during that time, the members of the collective spent time working on the material, which would comprise their soon-to-be released fourth album Offerings. Thematically, the album is centered on a fictional man, who is losing his memory — and in turn, his sense of self.  “I’ve always been preoccupied with memory, losing memory, and trying to recapture memory. I wanted to explore the questions: What does a person become if they don’t know where they came from? What is the essential quality of the person if you strip away all memory?” explains singer/songwriter Kyle Morton in pres note

As the story goes, motivated by his own preoccupation with “losing it,” Morton was inspired by the films of David Lynch, Christopher Nolan’s Memento and Fellini’s 8 1/2, as well as several different books on his nightstand, including Samuel Beckett’s famed Three Novels — in particular, Malloy. “It made it a much darker album for sure,” Morton says in press notes.  Structurally, the album is divided into four different movements — Floodplains, Flood, Reckoning and Afterparty — meant to represent each of the four mental phases the main character goes through when he first realizes that something is wrong, then struggles through the chaos of his situation, and finally moves into acceptance before succumbing to a terrible and unimaginable fate.

Musically, the band evokes an impending doom and chaos that’s supposed to mirror the main character’s sense of fear and anxiety. And to set the set the tone, Morton and company decided to write the material with much more guitar than horns and string arrangements.  “I wanted it to be a darker, more intense rock record, so it’s very guitar-based. It’s going back to my rock roots before Typhoon,” says Morton. But along with that, the material parallels the contemporary world. “I was also reading historian Timothy Snyder and was inspired by his take on how America is at risk of losing their sense of history. If we haven’t learned the lessons of our past, historically, we can’t recognize when elements come back to haunt us, which is what’s happening right now,” Morton adds.

Interestingly, Offering‘s latest single “Darker” is from the album’s third movement, and as Morton explains, the song details some of the final stages of the album’s main character’s memory crisis in which he loses the critical distinctions separating self from other. And naturally all kinds of chaos and confusion ensue. And while the arrangement balances a hook laden arena rock friendliness with a sweeping, cinematic quality, it possesses a tense and creeping anxiousness of someone, who’s fully aware of something horrifying happening to them and that they’re utterly powerless to stop it — but along with that, there’s the strange recognition that whatever it was that it was happening to them is something they’d have a difficult time explaining to someone else. Personally, what makes the song interesting is that Morton as a songwriter has revealed himself to have a novelist’s attention to psychological detail, capturing the fractured thoughts and uncertain emotions of someone slowly losing it all.

 

The band will begin 2018 with a lengthy US and European tour, and it includes a January 27, 2018 stop at The Music Hall of Williamsburg. Check out the tour dates below.

 

 

TOUR DATES:
01.10 – URBAN LOUNGE – SALT LAKE CITY, UT (TICKETS)
01.12 – GOTHIC THEATRE – ENGLEWOOD, CO (TICKETS)
01.14 – THE WAITING ROOM – OMAHA, NE (TICKETS)
01.17 – TURF CLUB – SAINT PAUL, MN (TICKETS)
01.18 – MAJESTIC THEATER – MADISON, WI (TICKETS)
01.19 – THE METRO – CHICAGO, IL (TICKETS)
01.20 – EL CLUB – DETROIT, MI (TICKETS)
01.23 – LEE’S PALACE – TORONTO, ON (TICKETS)
01.25 – PARADISE ROCK CLUB – BOSTON, MA (TICKETS)
01.26 – UNION TRANSFER – PHILADELPHIA, PA (TICKETS)
01.27 – MUSIC HALL OF WILLIAMSBURG – BROOKLYN, NY (TICKETS)
01.31 – 9:30 CLUB – WASHINGTON, DC (TICKETS)
02.01 – CAT’S CRADLE – CARRBORO, NC (TICKETS)
02.02 – TERMINAL WEST – ATLANTA, GA (TICKETS)
02.03 – EXIT IN – NASHVILLE, TN (TICKETS)
02.06 – THE MOHAWK – AUSTIN, TX (TICKETS)
02.08 – THE CRESCENT BALLROOM – PHOENIX, AZ (TICKETS)
02.10 – MUSIC BOX – SAN DIEGO, CA (TICKETS)
02.11 – TERAGRAM BALLROOM – LOS ANGELES, CA (TICKETS)
02.13 – THE INDEPENDENT – SAN FRANCISCO, CA (TICKETS)
02.16 – THE CROCODILE – SEATTLE, WA (TICKETS)
02.23 – CRYSTAL BALLROOM – PORTLAND, OR (TICKETS)
02.24 – RICKSHAW THEATRE – VANCOUVER, BC (TICKETS)
02.28 – THE DEAF INSTITUTE – MANCHESTER, UK (TICKETS)
03.01 – BROADCAST – GLASGOW, UK (TICKETS)
03.02 – THE LEXINGTON – LONDON, UK (TICKETS)
03.07 – LE PETIT BAIN – PARIS, FRANCE (TICKETS)
03.08 – BOTANIQUE – BRUSSELS, BELGIUM (TICKETS)
03.09 – PARADISO – AMSTERDAM, NETHERLANDS (TICKETS)
03.10 – KNUST – HAMBURG, GERMANY (TICKETS)
03.13 – VEGA – COPENHAGEN, DENMARK (TICKETS)
03.14 – MUSIK & FRIEDEN – BERLIN, GERMANY (TICKETS)
03.15 – FLUC – VIENNA, AUSTRIA (TICKETS)
03.16 – GARE DE LION – WIL, SWITZERLAND (TICKETS)
03.18 – ROYAL – BADEN, SWITZERLAND (TICKETS)
03.20 – ARTHEATER – COLOGNE, GERMANY (TICKETS)

Live Footage: Royal Blood Performs “Lights Out” on “The Late Late Show with James Corden”

Comprised of Worthing, UK-born, West Sussex, UK-based Mike Kerr (vocals, bass) and Rustington, UK-born, West Sussex, UK-based Ben Thatcher, the British rock duo Royal Blood can trace their origins to when Kerr and Thatcher met when the duo were briefly members of the local rock quartet Flavour Country, in which Kerr played keys and keytar; however, the band can trace their official origins to sabbatical that Kerr had spent in Australia, where had started Royal Blood with Matt Swan (drums). And as the story goes, when Kerr returned to England, Thatcher had picked him up from the airport and they quickly decided to start a band together. Initially, the duo had a difficult time landing gigs and according to Kerr, they played a lot of open-mic nights with acoustic singer/songwriters. But after further developing their sound at Brighton Electric Studios, the band was signed to Warner/Chappell Music, and as a result of sharing the same management company as blogosphere darling act Arctic Monkeys, the duo began to receive a steady amount of buzz before the release of their first official single. 

Kerr and Thatcher’s sophomore album How Did We Get So Dark? was released earlier this summer and the album debuted at Number 1 on the UK charts. Since its release, the album has garnered over 30 million streams across Spotify and Apple Music and has sold over 250,000 copies, while receiving praise from the likes of USA Today, Rolling Stone, NME, Entertainment Weekly, and Forbes. And adding to a growing international profile, the band played the main stage at last week’s Outside Lands Festival, and will be opening for Queens of the Stone Age for a series of dates in the fall. (Check out those dates, as well as the band’s headlining Stateside dates below.) 

But before I forget, album single “Lights Out,” recently reached Number 1 on the Rock Radio charts, as the Number 1 Gainer, marking the second time the band has reached Number 1, and as soon as you hear the song you’ll see why it’s been dominating the charts, as it further cements the band’s growing reputation for crafting blistering and swaggering power chord-based arena rock.