Show Review: blink-182 Hartford, CT

Neither New England's rainy weather nor Travis Barker's busted up hands could keep blink-182 and their droves of Connecticut fans from the Hartford stop of the Honda Civic Tour last Sunday night. Playing to a nearly full house at the Comcast Theatre (their first show there in nearly two years), the band presented themselves as a cohesive trio who are once again comfortable enough with each other to take some chances on stage.

The SoCal natives opened up with their hit single, "Feeling This" off their 2003 Self-Titled effort. With the crowd warmed up, blink immediately jumped into "Up All Night", the first track released from their upcoming LP, Neighborhoods.

As the set continued, it was clear that blink had found their stride again. They seemed much more comfortable with each other on this tour than their previous North American tour in 2009 where their stage banter and song choices were more reserved.

Perhaps that was best demonstrated after "What's My Age Again?" when guitarist Tom DeLonge slipped on stage. As if it were the late 90s again, bassist Mark Hoppus wasted no time in making fun of his fallen comrade. But never to be outdone, DeLonge shot back, taking a dig at Hoppus' mother - which even got a rise out of drummer Travis Barker.

From that point on, the show proved very lighthearted and fun. Between songs, blink even busted out some rarely heard material from their earlier years including "Family Reunion", "Happy Holidays, You Bastard" and a short, mashed up cover of My Chemical Romance's "Na Na Na".

The band also made sure to cover all their bases, playing cult favorites such as "Man Overboard", "Carousel", "Down" and "Josie", amongst others. In addition to the hits, blink flew seamlessly through another three brand new songs from Neighborhoods - "After Midnight", "Heart's All Gone" and "Ghost On The Dancefloor".

But, as with any amphitheater performance, the show was much more than the music. Blink managed to put together a set design that was bigger and more visual than anything they'd previously had. Complete with moving LCD screens, a laser light show, fog machines and the unforgettable Travis Barker drum solo high above the crowd in the pit, the band have proved that outdoing themselves is an understatement.

Blink were supported at this show by the Atlanta, Georgia outfit, Manchester Orchestra and the goth-emo rockers, My Chemical Romance. For more information on tour dates near you, click HERE.

And take a look at some of Backstage Press' photos from the front row. We'd also like to give a shout-out to our new friends who held it down front row in the pit with us - Joe, Kyle, Andy, Big Lou and Abby. You guys rule!

Dan Andriano - Hurricane Season Review

Following in the footsteps of his Alkaline Trio counterpart Matt Skiba, bassist Dan Andriano will be releasing his debut solo album, Hurricane Season, on August 9. Playing under the moniker Dan Andriano in the Emergency Room, the 34-year-old bassist is delivering a 10-track wonder that's some of his freshest and most personal work yet.

Hurricane Season is a deeply intimate look into Andriano's life as it stands today. The love for his family, his fear of losing them and his struggle with finding a sense of home in Florida (after spending years living in Chicago) are all themes that dominate the record. After more than a decade on the road with the Trio, Andriano used his solo platform as a sort of apology to his wife and daughter - the two of whom he had been away from for months at a time while pursuing a musical career.

Take for instance the album's third song, "Hollow Sounds". The soft acoustic track is what Andriano described to Alternative Press as a sort of "'I miss you' song, with a hint of, 'I know I'm gone a lot, but please don't leave me.'" And this certainly holds true as Andriano compares his unrelenting need for a cigarette to the longing he feels for his wife. "I want to light you up and take you deep inside my lungs/Well maybe you can shine your light inside on all the damage that I've done."

As the record progresses, it becomes evident that while his insecurities might be running on high, Andriano has come to terms with them and has put them to the wayside to just enjoy the present. During the album's ninth track, "The Last Day We Ever Close Our Eyes", he paints a picture of finding happiness with his loved ones as the world around them crumbles.

"And when they finally kill the lights, you get the glass, I'll pour the wine/On the last day that we ever close our eyes."

Ultimately what you're getting on this record are themes focused inward, rather than the usual dark and macabre scenarios played out on most of Alkaline Trio's discography. It's a completely different and fresh side of an artist that most people thought they had pegged. That itself is was makes this album worthwhile.

Hurricane Season stands as a journey of sorts that takes the listener through all the deep inner workings of a man struggling to find his place in life and hold onto it. What starts off as shaky and insecure in the beginning of the record develops into something that's happy and fulfilled at the end. At varying times, Hurricane Season is depressing, uplifting and funny, but somehow it remains catchy and honest throughout.

Simply put, the record is a must have for Alkaline Trio fans and anyone who likes things slowed down just a bit. You can preview a few tracks from the album below.

Alkaline Trio - Damnesia Review

When you've got a discography as large as Alkaline Trio, putting out another studio record seems, well... old. So what do you do to keep things fresh? Well, the dark rockers decided to release Damnesia, a 15-track rehashing of some of the band's most classic work (with a couple new songs added for good measure).

But the Trio didn't rerecord with all the bells and whistles this time around. Instead, Damnesia is a stripped down compilation of the fan favorites. Don't count on hearing anything electric on this record - but don't call this an acoustic album, either. Damnesia might be fronted with acoustic guitars but there's enough percussion, heavy bass and keyboards to keep this record from being labeled as simply acoustic.

Alkaline Trio have always had a taste for the macabre and the creepy. So getting down to the bare bones of their music on this record seems like nothing new. And to be honest, the minimalist approach makes a lot of the tracks even darker.

Take for instance "This Could Be Love" (originally off Good Mourning), which has more of a haunting presence to it with its lead melody played on keys rather than guitar. Lead singer Matt Skiba's vocal approach is noticeably better on the new version, though die-hards will hold fast to the original.

The real drawback to this album, if any, is the low level of energy. But again, it's stripped down. Where Damnesia lacks energy are also the same spots in which its dark and brooding presence are best exemplified. Looking again at some of their older work, "Private Eye" (originally off From Here To Infirmary), stands as another track that comes across darker regardless of its slowed tempo and basic nature.

But Damnesia isn't just a horror movie inspired remake of the Trio's early work. The band also recorded two new tracks including "I Remember A Rooftop", led by bassist Dan Andriano, which could easily pass as a b-side off the band's last album, This Addiction.

The other track, "Olde English 800" is a short, comical nod to the malt liquor. If anything, its lightheartedness gives you a break from the nonstop bones, blood, death theme that runs through the rest of the record. Tack onto that a cover of The Violent Femmes "I Held Her In My Arms" and Damnesia starts to feel more than just a rerelease.

Overall, the record should please most fans. Everyone always wants to hear a band play the "older stuff" anyway - and that's certainly taken care of here. Songs like "Mercy Me", "The American Scream" and "Calling All Skeletons" round out the band's newer material as well. And perhaps the best part of this record is that, while it's stuff you've already heard, it's presented in a new way.

If there's any band that can make lyrics about death sound so fresh, it's Alkaline Trio. Damnesia is a perfect addition to your heart and skull collection.

Blink-182, "Up All Night" Review

It's been eight years since we last heard any new material from blink-182. But Thursday night's premiere of the band's new song, "Up All Night", solidified the resurgence of blink's presence in the 2011 rock game.

While "Up All Night" is only a taste of what's to come off their new record, Neighborhoods (tentatively set for release on September 27), it gives the blink community an idea of the direction the band are moving. With each member of the trio bringing significantly different influences to the table this time around, many critics and fans are being quick to label the new song as a recycled version of previous side-project material - which may or may not be a suitable description.

The track opens up quite heavy. It's far from the lighthearted pop-punk blink became famous on, but at the sametime it doesn't sound like a stretch. Remember, their last album was littered with darker and harder material, i.e. - "Obvious", "Down" and "Violence". The intro, which lasts around 30 seconds, is a heavily distorted and choppy mix of chords and drum beats.

If there's one thing that's evident from this track, it's that blink aren't afraid to try new instrumentation and pedal configurations. There's a lot of ear candy present.

The verses have a familiar feel to them. With guitarist Tom DeLonge and bassist Mark Hoppus trading off on lines throughout the verse, "Up All Night" starts sounding more like a Boxcar Racer song ("Tiny Voices") than anything else. There's a certain rhythm that's undeniably blink-182.

The chorus is somewhat subdued. DeLonge, along with his airy vocal approach, take us through what sounds not too far from something in the Angels & Airwaves discography ("Do It For Me Now"). And somehow, after the weakened chorus, the track leaps right back into the heavy intro.

The track is sort of a hodgepodge of sounds. It's eclectic in itself - an array of different songwriting techniques that takes a truly talented band to pull off. But despite having so many layers, it still remains catchy.

Whether you like the track or not, let's not let "Up All Night" decide the fate of Neighborhoods. If blink's Untitled record was any indication, this band are as multifaceted as they come. "Up All Night" is simply one eleventh of what's probably going to be one of the most mature, intense and eclectic records blink have ever put out. Get stoked.

Blink-182 Up All Night by UpxAllxNight

Lyrics:

Everyone wants to call it all around our life with a better name
Everyone falls and spins and gets up again with a friend who does the same
Everyone lies and cheats their wants and needs and still believes their heart
And everyone gets the chills, the kind that kills when the pain begins to start

Lets get this straight, do you want me here?
As I struggle through each and every year
and all these demons, they keep me up all night.
They keep me up all night.
They keep me up all night.

Everyone's cross to bear's a crown they wear on endless holiday
Everyone raises kids in a world that changes life to a bitter game
Everyone works and fights, stays up all night, to celebrate the day
And everyone lives to tell the tale of how we die alone some day

Lets get this straight, do you want me here?
As I struggle through each and every year,
And all these demons, they keep me up all night.
They keep me up all night.
They keep me up all night.

Taking Back Sunday - Self-Titled Record Review

It's not easy to be Taking Back Sunday. Since releasing Tell All Your Friends back in 2002, the band have endured a staggering number of lineup changes, feuds with other notable acts and a sound that differed with almost every release. But regardless of the constant turmoil, the Long Island outfit have managed to gain a worldwide fan base that has been eagerly awaiting the release of the band's new Self-Titled album.

TBS reinstated guitarist John Nolan and bassist Shaun Copper (both of whom made up the original TBS lineup) in early 2010 after letting go of Matt Fazzi and Matt Rubano. And in the almost year-and-a-half since bringing the two originators back, the band have been touring and excessively working on the new album - one that was promised to be one of TBS' best pieces of work so far.

So how does it stack up to the band's 2009 release, New Again? Better yet, can it measure up to Tell All Your Friends - the only other record to be released featuring all five current TBS members.

Well, this album certainly feels nothing like New Again. In place of the almost slowed down and lighthearted structure found on that record, TBS have come back swinging with a much darker and resilient chunk of rock 'n' roll. It's not punk-rock, it's not hardcore and it's not alternative - it's somewhere in between all of that.

Nolan's familiar screams and backups only help to accentuate lead singer Adam Lazzara's emotionally sparked vocals. In that respect, the Self-Titled effort is on par with Tell All Your Friends. But lyrically, the new record comes across as a more mature sounding TBS. It's not necessarily as literal as some of the band's earlier work. The record wrestles with ideas of religion, happiness and the past, while at most times being open to interpretation. There's a lot going on throughout the album, and the message isn't always clear - a testament to Lazzara's heightened understanding of poetic license.

But musically, the Self-Titled release should please fans. Pair mosh-ready choruses like that found on "This All Now" with the many singalong breakdowns ("Sad Savior") and you're bound to get a record that will resonate with TBS followers. This album dances with the more technical side of the band. Look for a lot of lead guitars, overdriven amps and snare work.

Most of the songs on Self-Titled should translate well to the band's live show. TBS have tried out a number of new songs during their last few tours, and they come across as much more energetic and lively when compared to other recent works in the band's collection.

All in all, this release will mark another interesting chapter in the book of TBS.

While this new, but original, slice of the band is refreshing, it certainly won't define the them. They've managed to say goodbye to their emo-infused past while embracing a purely rock 'n' roll mindset. But let's face it, while a grownup sound might be the new face of TBS from now on, no one's ever going to forget those mic-swinging emo kids from Long Island.

The Wonder Years - Suburbia Review

The last year and a half has been monumental for the Philadelphia outfit, The Wonder Years. Their 2010 release, The Upsides, has become the new standard in pop-punk. The record wove together lyrics about life, touring, friendship, relationships and surviving your mid-20s without hiding behind a veil of words and similes. It quickly became the most straightforward and honest record the scene had received in years - thus gaining the band national exposure and a growing fan base.

So with the release of The Wonder Years' latest album, Suburbia: I've Given You All and Now I'm Nothing, the pressure was on to make a pop-punk masterpiece capable of topping The Upsides. Fans would ultimately be looking for something catchy, deeply relatable and on par with the band's earlier work. So did TWY pull it off?

One listen through the new record and it becomes clear that once again we are met with the more intimate side of vocalist Dan "Soupy" Campbell's lyrics. Whether the topic concerns an ex-girlfriend, questioning where home is or whatever happened to the homeless guy that slept in Memorial Park, Suburbia has a way of placing you in the shoes of its outspoken lyricist.

The album's opening track, "Came Out Swinging", gives perspective on what the band have been up to over the last year. It begs the question of where home really is. There's an internal struggle going on that's no doubt brought upon by the band's burgeoning success and non-stop tour schedule. "I came out swinging from a South Philly basement caked in stale beer and sweat under half-lit fluorescents/And I spent the winter writing songs about getting better/Well, if I'm being honest, I'm getting there."

It seems that Suburbia always keeps The Upsides in mind. "Local Man Ruins Everything", one of the album's best tracks, combats the "I'm not sad anymore" mantra with a look into what happened when they finally turned the Logan Circle fountain off and it was time to get back to real life.

Perhaps the most out out place song on the record comes at the middle. "I Won't Say The Lord's Prayer" is the "Dynamite Shovel" of Suburbia. It's the band's obligatory song on what they don't like about Christianity. And while the music itself is catchy, the topic just seems overdone and misplaced. Suburbia wrestles with finding home and making a life for yourself while in a touring band. To drag religion into it again, with virtually the same message, feels like a stretch and makes this one of the more forgettable tracks on the record.

The second half of the album jumps back to that original high intensity level. "Coffee Eyes" explodes in a dark, but quick, introspective on what its like to have some structure in the place you grew up. Later on, "Hoodie Weather" again takes a stab at what it means to be home and the notion that somewhere else is always better. Is the grass really greener on the other side?

Musically, Suburbia is as catchy as TWY's earlier work. There are plenty of layered guitar tracks, bass breakdowns and lots of quick, concise drumming. This is an album that was made for the stage. There are no frills or tricks anywhere that would lead you to believe this record was made by a computer rather than musicians. The band have stayed as honest musically as they have lyrically - a trend that's undoubtedly catching on again as witnessed by their growing success in recent years.

So how does Suburbia measure up to The Upsides? Well, it's not The Upsides. Don't expect anything to blow your mind or change the face of pop-punk... again. However, this is a meaningful record for the scene. It's a natural progression for the band. With Suburbia it seems that TWY have found their stride. This record is the next step in building a solid and memorable discography that might someday influence a whole new wave of pop-punk lifers.

It's worth having in your collection.

Exclusive Late Nite Wars Interview

Late Nite Wars have certainly had enough practice leading up to their first full-length release, Who's Going To Miss You If You Go?. They've been together since 2008, played countless shows nationwide and have three EPs to their name thus far.

And with that experience comes the pressure to live up to expectations from both fans and themselves. So when the band entered the studio, they set a goal of completing a full-length album this time around.

"We wanted to write something complete," LNW lead singer Kevin

Quinn told Backstage Press. "From the start we were thinking about a record in its entirety, not a song by song basis. I think that's what brought out some creativity."

The record certainly sounds like one solid piece. There are highs and lows, it's fast in spots and slow in others, but perhaps best of all, it sounds like LNW. The Merrimack Valley, MA outfit didn't pull any tricks on WGTMYIYG. Fans of the band's earlier releases will find comfort in this record knowing the band have stuck to their pop-punk roots.

"None of us wanted 13 songs that had the same sound and structure," said Quinn, "however, we wanted to stay consistent to what makes us LNW."

One listen through WGTMYIYG and it's easy to hear that the band are addressing a number of issues lyrically. What's it like to be a 20-something trying to find yourself? From working jobs you can't stand (which the band still do to support themselves), to failed relationships, the open road, touring and living in New England - the record is certainly eclectic in its message.

"It's difficult to say exactly what the influence is for the record because all five of us bring something different," explained Quinn. "But lyrically, the setting is all New England. Many of the songs refer to the weather, and others refer to the landscape. The feel of the season can have such an impact that it's natural that it comes across in the lyrics."

Perhaps that's most evident on the album's fourth track, "Rock, Paper, Bitters". The song opens with, "It's not hard to see that seasons change your mood/Just not as frequent as the weather/But it's cold and bitter, like these New England winters/It's coming on, and coming strong."

Throwing their surroundings into their music is nothing new for LNW, who have, through all their releases, made an effort to pay homage to the life around them. Whether that's Boston, a local venue, an old college dorm or their favorite karaoke joint, LNW are a band that survive off their locality.

And that sense of locality may be the driving factor in what keeps this band so connected to their past. Though WGTMYIYG may be the band's first full-length record, they made the decision to rework three of their previously released songs to fit onto the new album - an unmistakable shout out to their beginnings.

With their last EP set as a precursor to the full-length, it was a no-brainer for the band to add "Work Isn't Working" and "Death By Routine" to the updated track listing. And as for "Dragon The Anchor", Quinn said, "we wanted to record it and see what it would sound like three years later. It's one of our favorite songs to play [live]."

Who's Going To Miss You If You Go? has certainly solidified LNW as a pop-punk band that's here to stay. They've challenged themselves musically and lyrically, without losing sense of why they're making music in the first place. The band have certainly moved forward in their approach to leads, rhythms and vocals, but have left enough room to grow in the coming years.

So what's the bottom line? Get to know LNW... now.

To pick up the full-length album, released on Panic Records, click HERE. Also, make sure to grab the 7" vinyl containing two bonus tracks that weren't quite finished in time to make the May release. You can also stream the entire album HERE.

Living With Lions Album Review

Canadian pop-punk outfit Living With Lions may best be known north of the border, far from the sun and palm trees that most newbies associate with the genre, but that's not stopping them from carving out their own piece of pop-punk real estate in 2011 - beards included.

Living With Lions will be releasing their second full-length album, Holy Sh*t, this coming Tuesday. Add to that a current tour with Such Gold, a recently wrapped up slew of dates with The Wonder Years and Fireworks, and an upcoming appearance at Bledfest, and it's clear LWL are taking North America by storm.

But will Holy Sh*t make the mark when it hits the pop-punk community this week? Will this finally be the record to jump start the band's career outside their home country? If today's resurgence of heartfelt and honest pop-punk records leaves us any clue, then yes.

Holy is far from sunny and upbeat. But that isn't necessarily a bad thing. The album is bursting with grit, catchy hooks and a sense of nostalgia that will inevitably strike a chord with anyone who remembers better days.

Take for instance the sixth song on the record, "Maple Drive Is Still Alive". There's a mid-20s angst on the track that's only enhanced by the toe-tapping pop-punk beat. "We wasted days away/We kept the evenings long/Shared laughter and letdowns, beat out all the odds/Where are those days?"

The record also broods a sense of toughness between its nostalgic references and general uneasiness about life. Lead singer Stu Ross' vocals are raspy and grittier than most of what's heard in the pop-punk scene today, but it stands to work for the band. This isn't your whiney, south Florida punk. This is Vancouver pop-punk - where winters are cold and beards are thick.

So is this record worth your time? If you're looking for a pop-punk album that you can listen to even when it's snowy and cold out, then Holy Sh*t is your answer. Packed with honest lyrics and a tough exterior, this is one album that's versatile enough for all the seasons and all your moods.

Seriously, get stoked on it. The band have. The five members even went so far as to tattoo the album's title on their rear ends. Two letters for each member's cheek, with one dude inking the entire release date onto his behind. (Watch the LWL tattoo process here) Now that's dedication.

You can also stream the full album HERE.

Silverstein - Rescue Review

Silverstein's discography stands as one of the most consistent of any band around today. The Canadian post-hardcore outfit have been dropping full-length albums since 2003, and despite the trends and industry changes over the past eight years, the band have remained true to their sound on each of their five LPs. And with their release late last month of Rescue, the band have once again proved that melodic post-hardcore isn't dead - if you're doing it right.

The album simply picks up where Silverstein left off with 2009's release, A Shipwreck In The Sand. Rescue is tough and edgy, but comes packed with enough catchiness to grab a wide array of fans from across the scene - as has mostly any of the band's releases.

Take for instance the second track on the record, "Sacrifice". It starts out with a fast and technical guitar lead worthy of being called metal. Add to that Shane Told's brutal screams to open up the vocals and the track certainly sounds like the sharper side of the band. But when the chorus hits, it's a different story. Told's unmistakable singing takes center stage, over rhythmic and open guitar chords, that will undoubtedly be the singalong anthem of the band's live show.

Top this track off with a breakdown that encompasses everything Silverstein are - chugging rhythmic guitars laced with soaring leads, snare happy percussion and Told's growls that suddenly open up to a melodic hook before transitioning back into the chorus. In one word, balance.

The aspect about this band that has kept fans coming back album after album is that balance. Silverstein walk a fine line. They're not quite metal. They don't play anything too poppy. There is screaming, but there's also a good amount of singing. Somehow, every record, including Rescue, has the perfect balance to it.

And this only becomes clearer as you move down the album's track listing. "Burning Hearts", which sounds strangely like a Hawthorne Heights song, adds the pop-rock element to the record that will grab at the emo contingent of Silverstein's fan base.

Further down, "Live To Kill" throws out a vicious chorus that any hardcore enthusiast can latch onto and call their own. "We live to kill each other/We are the wealthy and the poor/We shout, but we don't listen/All we want is more".

Overall, if you've enjoyed anything Silverstein have done in the past, you're going to like Rescue. This isn't a band trying to reinvent themselves, or push their sound somewhere it shouldn't go. Silverstein have found their niche, and are sticking to it.

Their balance and consistency have undoubtedly led to their success. Rescue seems fresh, regardless of it sounding like another Silverstein record. Again, a balance between new and old. And certainly, a balance worth your time.

Dropkick's Own Ken Casey Opens New Pub In Providence

Ken Casey may be one of Boston's living legends. As the lead singer of the iconic Dropkick Murphys, Casey has long been known for his Irish-infused tunes, affinity for a good pint of beer and love of all things Boston. And having seemingly conquered the world with his band, or at least all of New England and anyone else in America with a shamrock tattoo, now seemed like the right time to do something a bit different.

Last month, Casey shipped down to Providence, Rhode Island for the opening his new pub, The Whiskey Republic. Located on the waterfront, The Whiskey Republic offers patrons a stunning view of the water and old mills in the area, a great selection of beer and liquor, and a reasonably priced menu.

But more so, Casey wanted his pub to offer Providence all that which makes New England great - music, booze and sports. Tucked away to the right of the entrance is a small corner stage, which plays host to many local and regional acts (including Dropkick on the pub's opening night). For a full list of events, click HERE.

And of course, no pub would be complete without it's fair share of alcoholic beverages. The Whiskey Republic has plenty to choose from, too. Whether it be a local brew, like Fisherman's from Gloucester, Massachusetts, or something as simple as, well... whiskey, TWR certainly has your drink of choice.

The bar area itself is huge. With seating all the way around, taps on both sides and plenty of standing room, it's no wonder this place can draw quite the crowd on weekends. This is also the place to go if you want to catch a local New England game. With TVs surrounding the bar, you'll easily be able to watch the Sox, Celtics or Bruins on any given night.

But perhaps the best part of TWR is the food. The menu is small, meaning what you're getting is fresh. Whether that be a fish plate, burger or salad, you can expect top quality. If you're unsure on what to try, ask a bartender. They've all got a pretty good handle on the food there, and are eager to let you in on their favorites.

So next time you're headed to Providence for a show at one of the city's many clubs, stop by The Whiskey Republic for a cold brew and some grub first. The atmosphere, music and prices are suited toward any punk pulling minimum wage. It's worth your while - don't miss it.

Hours:

Monday: Closed

Tuesday - Thursday & Sunday: 4 p.m. - 1 a.m.

Friday & Saturday: 4 p.m. - 2 a.m.

AP Tour Review

There is no "I" in tour - meaning that it's impossible for one band to singlehandedly save an entire tour. Such is true for the AP Tour, which for yet another year in a row has managed to throw together a lackluster lineup of bands. The result? A forgettable show that's simply not worth your money.

Perhaps the biggest draw to this year's tour are D.R.U.G.S., the Craig Owens fronted supergroup that had a cult-like following before they even released their first record. But even Owens' charisma and showmanship just isn't enough to save this tour.

The lineup, in addition to D.R.U.G.S., which consists of Black Veil Brides, I See Stars, VersaEmerge and Conditions looks more like something thrown together from a random search of bands on MySpace than a well thought out tour put together by the heads of Alternative Press.

You've got your goth-infused glam-metal element, a poor man's Paramore and an electro-metal outfit that look like they belong on a college campus rather than a stage. Add to that the I See Stars' lead singer referring to last week's New Haven, Connecticut crowd as "New York" numerous times and it's clear this grouping of misfits might not be ready to conquer the road just yet.

But the real problem with the 2011 AP Tour is the lack of consistency. This tour is full of club dates, not outdoor festivals. While this eclectic lineup of bands might work on Warped Tour, it's just too choppy for indoor shows. There's too much of a stretch, musically, to go from the pop sounds of VersaEmerge to the screamo post-hardcore brutality of I See Stars over a 20-minute set change.

It seems that Alternative Press haven't been able to put together a solid grouping of bands since the first AP Tour back in the Spring of 2007. Rather than selecting bands that would stand as a concrete look into the alternative scene, the AP bigwigs just keep grabbing for whatever band names will make them a quick buck.

You can't really blame them, though. With the print magazine industry dying faster than Donald Trump's chance of becoming president, it's no wonder AP executives have decided on setting aside musical integrity in exchange for a wide assortment of bands that will sell tickets to the trend-hungry youth of America that are armed with, and ready to spend, their parents' money.

Take this as a warning. If you're planning on spending your own money for a ticket, or don't feel like bringing your mother to the show with you, then skip the AP Tour this Spring. There's no real music on this tour, just industry. And let's face it, anything that's industry just isn't punk.