Three Cheers for Sweet Revenge – My Chemical Romance
December 19, 2025
I miss you, so far!
Hello all! This week, I’m recommending an emo classic—arguably the emo classic (perhaps besides The Black Parade). However, where The Black Parade indulges soaring rock opera, this one is punk all the way. It’s Three Cheers for Sweet Revenge by My Chemical Romance! MCR’s blowup second record released in 2004, boasting hits like Helena, I’m Not Okay (I Promise), and The Ghost of You. Fusing catchy pop punk sensibilities with Black Sabbath-ish early metal dissonances, MCR aligns shredding riffs over crushing chords. I’d like to commend the deceptively simple and enthralling blend of guitars and bass, Matt Pelissier’s lightning-fast drumming, and Gerard Way’s captivating performance and devastating lyricism. While the record delves deep into the macabre, telling of murder, prison, tragic romance, and supernatural revenge, it conceals an uplifting heart about perseverance. My favorite tracks include manic To The End, rebellious and sarcastic Thank You For the Venom, and chilling The Ghost of You. Explosive I’m Not Okay (I Promise) is the obvious anthem of the record. It’s Not a Fashion Statement, It’s a Deathwish features a fascinating, dramatic arrangement that relies improbably little on repetition for how well each section flows into the next. My favorite of them all, though, is surely Cemetery Drive. The dynamic arrangement, the compelling rhythm, the visceral and tragic lyrics; all make for a climactic track rife with spookiness and despair in equal measure. Go give Three Cheers for Sweet Revenge a listen!
Twenty Øne Piløts – Twenty Øne Piløts
December 26, 2025
All we are is an isle of flightless birds…
Hello all! This week, I’m recommending an album so early in their discography, the band doesn’t even have a physical release for sale (which is a shame!). It’s Twenty Øne Piløts’ self-titled debut, Twenty Øne Piløts! Released in 2009, Tyler Joseph created this record with friends and then-bandmates drummer Chris Salih and bassist Nick Thomas before future drummer Josh Dun joined. Even early on, the band’s talent for creative and expressive songwriting is apparent. The record employs some clever harmonic tricks to paint each phrase the perfect color, in particular modulating to a harmonic minor mood. It also makes great use of simplicity, often relying on stark instrumentation that emphasizes the quality of each element rather than overcrowding. The lyrics are a major draw, expressing the dark grip of depression and mortality without ever relinquishing the hopeful torch that brightens and energizes its heart. A favorite track is Fall Away; if the album had a lead single, Fall Away would feel like the obvious contender. The trepidatious piano and enveloping chorus create a hypnotizing mood. Despite being disliked by many fans for sounding silly, The Pantaloon is one of my favorites as well. The lyrics are exceptionally profound, and the “silliness” of the instrumental becomes devastating when paired against them. Like on most of the record, Tyler Joseph’s delivery makes the instrumentals make perfect sense. Another tragically unpopular track is Air Catcher, a rocking ode to apprehension in the face of love. I also love Before You Start Your Day, a lovely penultimate track directing us toward the decisive denouement, Isle Of Flightless Birds. My favorite of all of them has to be Trapdoor. The sinister bassline, the chilling vocals, the heartbreaking arrangement, and the evocative lyrics all make for a masterpiece of composition. Go give Twenty Øne Piløts (the album specifically, but anything by the band is reliably good too) a listen!
Everyone’s Talking! – All Time Low
January 2, 2026
There goes my heart on my sleeve!
Hiya all! This week, I’m recommending a very new album that has captured my attention since the moment I first heard it. It’s Everyone’s Talking! by All Time Low. Many of you may remember All Time Low from the early 2010s; I assure you, they’re still going strong. In fact, this record is, in my opinion, their best work yet. The songwriting is airtight and dynamic, All Time Low giving themselves some leash on their recent more electronic sound to incorporate heavy guitars, live drums, and acoustic instrumentation. This album in particular makes great use of chorus-effected lead guitar filling out the mix. I cannot fail to mention that Alex Gaskarth sings his heart out every moment of this record, piercing each lyric full of the emotion it deserves. Speaking of, the lyrics are delightfully introspective and colorful, paired with relentlessly addictive melody writing. The production reminds me of contemporary hardcore and metal with snappy kicks and swollen distortion. My favorite tracks include sincere The Weather, heartfelt Falling For Strangers, driving Viva Las Vagus Nerve, and immense Cigarettes & Sabotage. Tread Water is somewhat heavier yet more subtle than the rest of the stylishly bombastic record, reminding us of the significance behind the music. Different Languages is such a sweet, gentle song, taking a breather before Butterflies rocks out the end the album. I have to mention the two acoustic interludes, [cold open] and Goodnight, C’est La Vie, which serve as signposts for the rest of the album while being excellent in their own right. The pure explosiveness of the title track Everyone’s Talking put it in a serious position to be my #1 favorite. However, it can’t beat the raw punkishness and electric arrangement of Little Bit. The track drives home a ceaseless tension, making you want just a little bit more as much as the narrator does. Go give Everyone’s Talking! a try! I suspect it will be worth your while.
Spirit Phone – Lemon Demon
January 9, 2026
Sweet bod.
Hello all! This week, I’m recommending an album that’s strange, stylistic, and incredibly creative. It’s Spirit Phone by Lemon Demon! The album blends 80s synth pop and rock with definitely not occult spookiness and peculiar humor. Unlike Neil Cicierega’s Mouth saga (which is hilarious and ridiculous) Spirit Phone is funny without feeling novel or insincere, lightening the weight of the peculiar topics and cosmic horror it indulges. A large pull for this record is its insanely catchy synth leads, which capture the essence of each track they grace and elevate their energy. Perhaps a larger pull are the album’s unusual lyrics and thematic topics. I found the stories that many songs tell so compelling that I can’t help but to relate them while talking about my favorite tracks. The album’s big hit, Touch Tone Telephone, perfectly introduces the album’s sound and theme with the addition of 40s-ish strings and vocals. When He Died is lyrically fascinating, detailing the investigation of a string of impossible, inexplicable occurrences that happened “when he died”. Sweet Bod is ridiculously funky, detailing a strictly professional appreciation for the Mellified Man and his corpse’s healing properties. Soft Fuzzy Man is almost touching in its professions of love from a sentient cloud. As Your Father I Expressly Forbid It is a crazed track with a touch of classic rock. Reaganomics is an undeniable jam, featuring driving drums and electric melodies. The ending may just be the best out of the whole record. Man Made Object also has some crazy harmonics at work and a super catchy synth bass line. On the main album, my favorite track has to be Cabinet Man. Its best features include its manic synth line, dancey beat, and lyrics detailing the rise and fall of arcade gaming through the lens of someone immortalized within a living, slightly evil arcade game. My favorite of them all, however, comes from the deluxe edition. It’s Redesign Your Logo, which relies on a deceptively simple pattern that builds through the entire song and crescendoes, reflecting the incremental creation of a logo designed so flawlessly under the instruction of extradimensional voices that it unites the world and solves all existing conflict. The repeated lyrics “everything’s connected” are delightfully foreboding in particular. Please give Spirit Phone a try. It’s pure awesomeness. Check it out!
Piece by Piece – Kelly Clarkson
January 16, 2026
I see your face in every stranger, footsteps down the hall…
Hello all! This week, I’m recommending a great pop record that celebrated its tenth anniversary earlier this year. It’s Piece by Piece by Kelly Clarkson! Ten years, and it holds up just the same. I listen to these albums while writing their recommendation; this time, I began it while rearranging my queue. I was questioning whether or not Piece by Piece ought to be deprioritized. By the time I was done rearranging, I knew it deserved to be next. The majority of the album isn’t rushing anywhere, yet it refuses to stagnate or fall dry, owed to its colorful writing and refreshing production. Instead, it opts for unyielding power, inspiring one even through faltering moments of uncertainty. Kelly Clarkson crushes her vocals as always, but the creative production is what makes every song feel distinct and meaningful. The song Piece by Piece earns every bit of being the album’s namesake, a musical pillar of the record and a lyrical a highlight of Kelly Clarkson’s whole discography (and personally, I feel it deserved a music video much more than the pleasant but unremarkable Invincible, despite being a radio single). I confess, I tend to find myself bored by slow tracks. However, Someone is an exemplar of how to slow down without becoming boring. The gorgeous synth riff and the immense vocals make it worth every minute. Let Your Tears Fall is such a sweet and reassuring song, and Nostalgic is massive and energetic, indulging maximalism and evoking a bit of an 80s mood. Whatever you do, please listen to the deluxe edition of Piece by Piece, featuring three indispensable tracks. I only learned that these tracks weren’t on the standard album while writing now; how did these highlights not make the cut? Bad Reputation is an unexpected jazzy anthem, and Second Wind is a perfect closer, leveling the final blow of motivating power that fuels the whole record. In The Blue is a masterpiece, bolstered by soaring, spacey production and beautiful harmonies. Only one track can overtake it, and that’s my very favorite, War Paint. Between the nonstop rhythm, the explosive synths, and the confrontational and courageous lyrics, what’s not to love? If you’re a pop fan, check out Piece by Piece by Kelly Clarkson. If you’re tired of pop, this album may surprise you. I know it’s surprised me.
Disco-Boy – Skullinaut
January 23, 2026
Falling Into Place…
Hello all! This week, it’s time for the recommendation you’ve all been waiting for—Disco-Boy by Skullinaut! Following two excellent albums, Skullinaut’s third record captures a more colorful, dancey energy. This album in particular pays great attention to subtle yet pervasive hooks that its entrancing soundscapes adhere to, propelling the momentum of the album while uniting its elements. Skullinaut dusts off his voice to lend to several tracks, complimenting the enticing mysteriousness of instrumental songs with lyrical ones. I was excited to hear it; I loved the vocals on THE ABSENTEE and have hoped for more since then. Disco-Boy came through! I also want to commend the full and engaging production, making the grit and texture sound clear yet tactile and raw. This album feels like the highlights of so many styles: massive hip hop drum loops and striking electronica synths; the grit of rock and the groove of disco. And I cannot fail to mention the narrative it paints, an arc of indulgence, depression, and fate (worth digging in to!). Now for my favorite tracks. Disco-Boy begins with the epic, vibey intro Inheritance, leading into the fittingly disco title track and jazzy City Lights. Zaiyon lends his voice to Sometimes…, a gentle yet powerful track that mixes the confidence of the flow with its gorgeous soundscape and hook. Say What! is a total jam, while Nocturnal Rain feels calm yet uneasy, foreshadowing what’s to come in Collision/Unfortunate Fortune, an introspective, devastating pair of tracks. Falling Into Place is a strange and almost spooky track, another killer feature from Zaiyon with an electric beat. That chopped vocal in the breakdown is a highlight of the whole record for me. Man In the Mirror (Dance Anyway) is the perfect penultimate track for Disco-Boy: smooth yet angular, a defiant yet bittersweet sendoff. Of them all, my absolute favorite just has to be Peppermint. The melody is beautiful, weaving through the amazing arrangement. The whole song feels so dynamic yet so united. Please go listen to Disco-Boy by Skullinaut. It is awesome!
Talking Is Hard – WALK THE MOON
January 30, 2026
One look and my heartbeat stops…
Hiya all! This week, I’m recommending an album that I’ve never heard anyone discuss, yet it’s an incredible, creative record. It’s Talking Is Hard by WALK THE MOON! Despite its massive success and insane catchiness, Shut Up and Dance falls flat in representing WALK THE MOON. Try out their deeper discography, and you’ll find a multitude of unique and worthy tracks. My recommendation? Begin with Talking Is Hard. The best elements of indie pop, alt rock, funk, and disco combine on this record. It is at once full and complex without feeling overstuffed, leaving plenty of space to identify and appreciate every sound. It’s interesting to listen to parts that sound simply massive and easily realize that there actually isn’t much going on. That is the talent of tight songwriting. Most of record is plunged in groove, pushing each song forward until a few much needed rests in contemplation. Best of all, Talking Is Hard embodies an evident spirit of experimentation. I can just imagine the band saying “why don’t we just try this out?”. It was worth their while! While I enjoy the opening songs, if you are not yet convinced while listening, be patient. My favorites inhabit the center and end of the track listing. Up 2 U is an adventurous bastion of pure rockiness (and good heavens, that scream out of the bridge!). Portugal is awesome and terribly bittersweet. Down In The Dumps is also an all-around great track, the restrained vocoder intro, compellingly divergent pre-chorus, and soaring chorus build being notable highlights. I find Spend Your $$$ playfully spooky in sound. Aquaman is a sweet, gentle closer, reminiscent of Phil Collins scoring a slow dance from a movie, which is high praise! My very favorite (which is a toss-up), Avalanche, really deserved to be a single. The beautiful synth harmonies, heartfelt lyrics, and driving beat more than qualify it. It is, to me, the pinnacle of the wistfulness that weaves together Talking Is Hard. Go give it a try!
Blink-182 (Untitled) – Blink-182
February 6, 2026
WHERE ARE YOU?
Hiya all! This week, I’m recommending an album I didn’t expect to be as enchanted with as I have been. It took me a while to begin to understand Blink-182. I think I’m on the right track. After essentially perfecting pop punk, Blink showed us their range in 2003 with their self-titled album, commonly known as the “untitled” album. The album’s sound is very cohesive, introducing orchestral textures and tactile recordings beside their conventional punk instruments. The percussion in particular uses a number of stylishly odd, gritty sounds. The track listing is admirably dynamic, aptly employing interludes, short songs, and satisfying transitions between tracks. It almost begs to be listened to as a cohesive piece. Yet each track holds its own when played individually. Feeling This is a rocking opener, and I Miss You is an undeniable hit, transcending to being one of the anthems of a generation, yet fitting so well with the rest of the record. Aggressive, immense Stockholm Syndrome, paired with its beautiful interlude intro, is another highlight. The Fallen Interlude is incredible, a jazzy, hip hoppy beat exiting Down, which is itself a pretty track. Always never fails to stir my feelings with its simple yet artful and heartfelt nature. Driving and discombobulating Easy Target transitions cleverly into the more solemn All Of This (featuring Robert Smith). I’m still new to this record. I suspect I have more to learn and to love about it. However, right now my favorite track is Violence (which is somehow one of Blink’s least streamed tracks ever). The peculiar verses and maddening chorus make for a compellingly unique song and a crushing listening experience. For a band that have built their brand on stupidity and ridiculousness, you can’t help but adore the directness of this album, the artistry, and the subtle complexities captured without sacrificing accessibility. Check out Blink-182 by Blink-182! If you must, listen ironically; I suspect you’ll find yourself endeared along the way.
All I Ever Wanted – Kelly Clarkson
February 13, 2026
Don’t let me stop you!
Hello all! This week, I’m recommending another Kelly Clarkson favorite: All I Ever Wanted. Likely her most punk album, Kelly Clarkson fully commits to the rock side of her sound previewed in her previous folk and alt rock album, My December. All I Ever Wanted successfully embodies a playful sense of fun fueling confidence with a twist of rebelliousness. The vocals are as massive as ever, complimented with a clean pop production that remains sincere and expressive. I Do Not Hook Up is a personal anthem for me as someone who also “falls deep”, as well as an all-around awesome track. Long Shot is energetic and exciting, yet also pretty. Fun fact, both of the former were penned by Katy Perry before she started working on One Of The Boys. The title track All I Ever Wanted is bouncy in a heavy, groovy sort of way. Already Gone feels like a modern classic heartbreaker on the way to becoming a regular sort of classic. If I Can’t Have You is undeniably addictive and delectably sinister in sound. Whyyouwannabringmedown is fiery, manic, and rocking, propelled at an endless speed that makes your heart race. Finally, If No One Will Listen is an unexpectedly sweet and gentle album closer, evoking a bit of Kelly’s earlier R&B work. My absolute favorite has to be Don’t Let Me Stop You. The opening riff is one of my favorites of all time, and every minute after it holds up to the standard. The shredding energy and punchy rhythm crush every listen.
Have a safe Friday the 13th!
The Bitter Truth – Evanescence
February 20, 2026
Let all the Broken Pieces Shine…
Hello all! This week, it’s time to recommend the latest (for now!) album by the one and only Evanescence. It’s The Bitter Truth! After a 10-year break from releasing new music (besides the two magical new tracks on Synthesis), Evanescence made a massive return with this record in 2021. The Bitter Truth is in my opinion Evanescence’s heaviest record sonically, featuring grinding guitars, ice-slick bass, and driving drums. This foundation leaves plenty of space for beautiful accents of synthesizers, strings, piano, and music box in the high end. Each Evanescence album pairs their metal side with a different flavor, be it orchestra on Fallen, borderline baroque vibes on The Open Door, or proggy electronics on Evanescence (the album). This is the first to finally tap into the industrial textures Synthesis touches on, evoking hints of Nine Inch Nails. The name Amy Lee is compliment enough to the vocals. I also have to highlight Will Hunt on the drums, who is very effective at playing against the rhythm yet keeping a steady feeling. My favorite tracks include sharp, soaring Better Without You, featuring a cataclysmic bridge. Feeding The Dark opens with some lovely bass stabs and sinister electronics before leaping into shredding heaviness. Wasted On You is a beautiful, atmospheric rock ballad chock-full of power. Use My Voice may be the definitive anthem of their whole discography, whether you like it or not! Far From Heaven is devastating, and an exemplary use of the Lydian II/Dorian VI. Take Cover is the most manic the band has gone since Sweet Sacrifice. What a track! It sounds all but feral. I simply adore the sick delivery of the line “You underestimated my wrath”. Broken Pieces Shine is always a favorite, proving confidence in imperfection with immense vocals and excellent melody writing. Perhaps I’m being predictable in choosing the interlude, but I have to pick Artifact/The Turn as my favorite track. The production and writing of the synth atmosphere is simply flawless. The minimal vocals are haunting and perfectly suit the track. Artifact/The Turn is almost like a sendoff to Synthesis, and the perfect introduction to all that will follow on The Bitter Truth. When I heard this track, I was forced to reconsider how to open my own album. The opening minute is now about 20% more of an inferior attempt at capturing the feeling of this song. Go give The Bitter Truth a try!