Following the disbandment of his previous reggae- and ska-tinged group LAW, he first conceptualized Jakobs Castle to create music based on his most eclectic and diverse influences. The project is unique for a multitude of reasons, one being the sound and overall aesthetic behind the project that fuses everything from ’90s alternative in the vein of Weezer and Pixies to the modern sounds of hyperpop and reggae, which he brilliantly dubs “beach meets internet.”

Read more: Every Weezer album ranked: From worst to best

As an artist, Jakob wants to be as provocative and divergent as possible with his art, largely in part as a tribute to his father, the late Bradley Nowell, vocalist of Sublime and one of the most celebrated and iconic figures of ’90s alternative music. Bradley passed away in 1996 due to a drug overdose, not even a year after the birth of Jakob. While he never had an opportunity to get to know his father, it is impossible to ignore the spiritual connection between the two in Jakobs Castle’s music. However, Jakob doesn’t want to focus on the past, instead paying homage to his father’s legacy by following his own path and being as inventive and musically free as possible.

In an exclusive interview, he details the genesis of Jakobs Castle, his forthcoming LP, and the legacy of his father.

Your music incorporates a diverse range of sounds. What are the key influences behind Jakobs Castle?

For about eight or nine years, I was touring with my old band, LAW, and a lot of it was just boot camp for me to figure out what it takes to do the job of being a traveling musician. The music I was making in that band was more in the vein of what the other bandmates wanted to make, and when that project broke up, I knew it was my chance to finally make the music that I liked. I like punk, acoustic stuff like Violent Femmes and funny, ironic stuff like Tenacious D. I was also inspired by the hyperpop sphere with artists like glaive and Dorian Electra. I know hyperpop has become a buzzword that has maybe already passed, but it felt like a celebration and an ironic take on pop music going to its logical extreme. I tell people the tagline behind my music is “beach meets internet.” 

Last year you signed a record deal with the legendary punk-rock label Epitaph Records. What does it mean to you personally to be a part of that rich musical history?

I heard this song as a teenager called “I Wanna be on Epitaph” by Betty Blowtorch, and I remember being 13 and asking my mom what Epitaph was. [Laughs.] My mom gave me the lowdown because she’s had a history with all of that stuff as an old-school punk rocker. From there, I always had this image in my head that Epitaph was DIY and punk-rock cool, but still very professional and capable — without being a soulless giant. I can safely say, from my experience, it has been like that. 

With your father Bradley Nowell passing away shortly after you were born, did you often find yourself going through the archive of your father’s catalog of music, lyrics, and wisdom as a way to learn more about him as a person and artist to apply to your own art? 

It’s a painful and emotional process but also enlightening and fun. I grew up hearing a lot of Sublime songs from my mom and on the radio, but for me having that connection, it’s a real tear-jerker experience. He had such an emotional, soulful voice and tone, and it’s also like, “Here’s this guy that I knew nothing about, but my life has been colorized and characterized by his existence.” I also can’t be this petulant little whiny child saying, “It’s so shitty that I had a parent that gave me these opportunities.” Yeah, there are opportunities, but he had to die to give them. It’s tough because I want to come into my own and carry this torch and give people what they want, but I also want to do it my own way and not have it be this vague facsimile of the past.

If you had to choose, which three Sublime songs mean the most to you? 

I had to put a lot in to get here, and I never had this flawless, natural thing that my dad had, but a song that exemplifies that is “Pool Shark,” which I am playing live. The chord progression is strange, and it feels like my dad had to express something and transmit his experiences in a way that was genuine and uniquely his without being too strange or abstract. “Same In The End” is another great song, and even though he was in the throes of addiction during the recording, he could still output this insane amount of energy and creativity. Song three for me is “Boss D.J.,” which is so freeform, sped up, and slowed down. He was an artist where all he had was music to really get that expression out there. 

What can fans expect from your forthcoming debut LP, Enter: The Castle, and your live show?

I think the fans will be the ones who genuinely decide if what I’m trying to portray comes across. It’s beach meets internet, it’s old meets new, and it’s the next step in California music if everything goes right. [Laughs.] I hope fans can expect something that will make them smile, make their drive home from work more enjoyable, and offer a place and live show to be yourself and have a good time.

Following the release of their fourth and last studio album, Kids in the Street, in 2012, the All-American Rejects have yet to deliver a proper follow-up album in the 11 years that have since passed. It’s a testament to the band’s pledge to keep their legacy as sacred as possible and resist to the urge for a quick cash grab or a shallow venture into the murky waters of nostalgia. Nostalgia is a bit of a double-edged sword for the band, who, on the one hand, cannot avoid that the music they released and the scene they were initially a part of is having a significant resurgence. On the other, they have a unique opportunity now to prove that they are more than the sum of their biggest radio singles. 

Read more: 10 most criminally underrated the All-American Rejects songs

In 2023, the All-American Rejects are now in a unique position where their music is being introduced to younger audiences who might not have even been alive upon the release of their debut studio album in 2002. So how does a band with four timeless records, a host of hit singles, and a die-hard fan base of both scene veterans and eager newcomers approach the next chapter of their careers? For starters, they tour, but in this case, they put together one of the summer’s most stacked lineup with the aptly titled Wet Hot All-American Summer Tour. 

Joining the All-American Rejects is none other than their closest musical peers who either came up alongside them during their initial rise or inspired their very journey from the beginning with support from the Get Up Kids, the Starting Line, Motion City Soundtrack, and New Found Glory. The Wet Hot All-American Summer Tour is not simply a tour for nostalgia’s sake; it is a celebration of the hard work and impactful songs that allow a band to enter legacy status. The Wet Hot All-American Summer Tour is proof that while the years have passed and the world has changed considerably, the All-American Rejects and their peers still have so much left to say. 

In an exclusive interview, we spoke with the All-American Rejects’ frontman and bassist Tyson Ritter and guitarist Nick Wheeler to discuss the Wet Hot All-American Summer Tour, nostalgia, and the prospect of new music. 

Why does now feel like the right time for the All-American Rejects to embark on their first major headlining tour in nearly a decade? 

NICK WHEELER: I think it’s the perfect storm. It’s been a long time since we have done a headlining tour, and while we released a few tunes and did a couple of support tours five or six years ago, it’s mostly been one-offs. Whether it was festivals or corporate shows, we were not necessarily playing for our own fans, so we started doing a few club shows before COVID. When that went away, we just sat at home for a couple of years before we finally got back out there in 2022. The When We Were Young festival, in particular, not only showed us that people are still excited about this type of music again, but we were just as happy, excited, and stoked to play for our fans again.

TYSON RITTER: It just felt correct for us to do this tour. There was no reason to pander to a crowd by releasing something new that wasn’t heartfelt or would open up a beast that only wanted to feed on the memories of why this band solidified itself in the first place. If it is the right time for something, it’s to see if people can finally acknowledge that this is a band, not just songs. We were a band from Oklahoma with rock shirts and blue jeans, and we have always been a band where identity was not as important as the music we made, whereas our contemporaries were a lot more calculated about what it looked like and what it smelled like. We just wanted to do our own thing. This tour is for us to remember that we have a body of work that can stand up in front of the crowd and not only transport you back to a place but also be something more than just a quick fix or a big MTV hit. 

For the tour, you put together an incredible package of iconic bands to support you that feels like a gift to your dedicated fans with how curated it is. How important was it to highlight your musical peers who came up alongside you and also offer fans a one-of-a-kind experience? 

WHEELER: It was like that meme of Charlie Day from It’s Always Sunny In Philadelphia, where we brainstormed for several months. [Laughs.] This is literally our dream package.  

RITTER: While we were doing demos for our first record, we took the address off the back of the Get Up Kids record Four Minute Mile for Doghouse Records and sent an unsolicited demo to them that they pulled out of the trash and signed us. That’s why the Get Up Kids are on this tour for me, and they are a seminal part of our existence in more than just a musical atmosphere. Motion City Soundtrack was the first band we toured with in the Midwest, and we came up at the same time for those seminal moments in our band’s career. With the Starting Line, we did one of our first big tours with them, which was a huge benchmark moment for us. [Not to mention], with New Found Glory, I was 14 covering their music, so it’s a full-circle moment to get to tour with them now. This [tour] is a walkthrough of our fucking diary of life, and it’s deeply personal for us. 

Another important aspect of this tour is that it will allow new and younger fans to experience your music live for the first time. Do you find yourselves considering the impact your music has had on the next generation, where kids are looking to bands like All-American Rejects or My Chemical Romance as the Nirvana of their age? 

WHEELER: There’s something special about this scene and the music, even if we never felt like we belonged to it. I think our songs helped us transcend and allowed us to do the radio and MTV thing, but really it’s just the cycle of nostalgia now. When I started touring in 2002, I was only listening to ’80s music, and now here we are 20 years later, and people are listening to 2000s music again. 

RITTER: The new generation gets to purely absorb [our band] in a random flicker of an algorithmic introduction that’s pure without any predisposed ideas that this band is “too cool” or “too popular.” We had more songs on the radio than any of the bands [in our scene] and threw our tunes in every 2000s rom-com movie, which turned many people off, but I think now people get to see that we made a real fucking offering. To be able to highlight that to a new generation is cooler than [simply] trying to stay relevant. 

2023 also marks the 15th anniversary of the release of your third album, When The World Comes Down. Are there any plans to do anything special to celebrate this milestone or highlight some of those songs in the upcoming setlist? 

WHEELER: We’re not the type of band to play a record front to back, but we have always had fun with vinyl repressings and special releases. 

Ritter: “Gives You Hell” [the lead single from When The World Comes Down] was a song that became bigger than the band, while the rest of that record got overlooked. With that album, we were trying to find a depth with the rock within us. I honestly don’t know what songs we would pull from the record for the upcoming shows other than “Gives You Hell.” 

“Mona Lisa” would be cool. 

RITTER: There you go! “Mona Lisa” is definitely going to come out during the set. That’s a really special song to me. 

Will this upcoming tour reinvigorate the band’s creativity and potentially open the door to writing the long-awaited fifth All-American Rejects album?

WHEELER: We have yet to find that magic formula for making a true, new Rejects record, but maybe we will over the summer. This will be the first time we will all live together for the first time in six years — it will be a trip, man. There are no plans, but you can never say never. If it feels right and works out, then great, but we’ll never do anything to capitalize on a moment. One of the reasons there hasn’t been a fifth Rejects record is that we refuse to compromise our taste and excitement about a project because it always has to be better than the last one. 

RITTER: I have to want to do a Rejects record more than anything in the world for me to even approach it. To go into the Rejects’ land again, it can’t be the same this time. 

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Can’t Stop Won’t Stop (2008)

JOHN O’CALLAGHAN: I know there is the old adage that you have forever to write your first record, but we really only had a couple of fucking months. [Laughs.] We were so brand new and green. I can’t even really recall having that many ideas. 

JARED MONACO: We didn’t pull up [to pre-production] with enough songs to even make the record. Nobody really knew what they were doing. We just got in a room and whatever came out was pretty much what made it on that album. 

O’CALLAGHAN: The recording studios we had been in before this record were about the size of a bedroom with not great equipment. When we went into the studio for this record, we had an unnecessary amount of confidence and naivety to do this. We lived in an oddly furnished apartment together. We were all 18 or 19 years old. 

MONACO: Having that naivety and being young was important, and that’s what I remember about this record. It was all so new, and it still sounds that way to me when I listen to it, and I’ve grown to love that about it. 

PAT KIRCH: I think the most important thing about that record is the variety. It isn’t all just right-down-the-middle pop punk. If we had done that, we wouldn’t have known where to go next. There was a lot of acoustic guitar, pianos, slide guitars, and it made it so we weren’t stuck in a box.

Black & White (2010)

O’CALLAGHAN: The confusing thing was trying to dial in who we are as a band and what we’re going for sonically. We were being told things by the label that we should be a modern Tom Petty kind of vibe, but internally, I don’t know what we were feeling, and we didn’t have much to base things off other than what people were telling us. 

GARRETT NICKELSEN: We hadn’t had a misstep yet, and everything was working great, so we assumed everything would continue to go great. 

KIRCH: The record label wanted to erase everything we had done before. They kept telling us we were in the big leagues now [with our signing to Warner Records]. The idea should have been more about building upon what we did, as opposed to ripping out a new page. 

O’CALLAGHAN: For as arduous of a process as it was writing songs with other people, we had some really amazing sessions with people like [Grammy-nominated songwriter] Butch Walker. [We] also had some not-so-great experiences with others. I still remember that I was having fun regardless, and people at the label were positive and building us up. I personally fell into the “what if?” What if we were as big as Green Day? Through that record cycle, it showed that we didn’t get as big as Green Day, but it was the next step that set up the third record the way that it did. 

NICKELSEN: It was fun, but not in the studio always. 

MONACO: It was a little sterile. On the first record, we were just fucking around in the studio, and if you can’t have fun, fuck around and have a good time, you lose that character. With this record and going for a polished, big-production sound, I get it, but we were still learning what worked for us. 

O’CALLAGHAN: The record still did well if we’re talking numbers, but in our collective eyes, we have the most to say about the record we care the least about. [Laughs.]

Pioneer (2011)

KIRCH: I have such fond thoughts on this album. It was so much fun to make and so much of an opposite to the previous record. It was back to the discovery process, fucking around, doing whatever we wanted, and then picking the record later. We recorded 27 songs and picked the 13 that should have been on the record, 

NICKELSEN: We were just working on what was good at the moment, not thinking too much and just doing it. That’s honestly how the songs feel, and [we] weren’t afraid of anything. 

O’CALLAGHAN: I feel like it’s the most chaotic, all-over-the-place and manic record that we have as far as vibes go. This was also the moment that we met [longtime collaborator, producer and engineer] Colby Wedgeworth. We went from the second record being so serious and uncertain to this record, where we did something crazy, doing it under the radar without the label knowing. We had no rules to abide by, which made it really fun. 

NICKELSEN: I’ve said it before, but this record is a teenager. It’s rebellious, does what it wants and has a good time doing it. 

KENNEDY BROCK: That’s exactly right. It’s still freedom but with a lot more determination.

Forever Halloween (2013)

O’CALLAGHAN: I think this was the record we were the least prepared for. We had sparse communication with [producer and co-founder of the Raconteurs] Brendan Benson prior to it, which added to the allure of it. The first week in Nashville [where we recorded the record] was pretty fucked up. 

MONACO: I was terrified. [Laughs.]

KIRCH: It flipped the idea of what recording was to us. When we got there, I don’t think Brendan could see how different his process was compared to ours and how crazy it was. We thought we would spend a couple of weeks working on the songs, but instead, we just went straight into recording.

NICKELSEN: On the first day, we recorded live with John in the same room doing vocals with the drums 5 feet away. [Laughs.] We got thrown into a completely different environment than before, and we didn’t get time to think if the songs were good. 

MONACO: It was so different, and how we always made records, the foundation was convenient. For this record, it was anything but. 

O’CALLAGHAN: Once we got out of our own way, and stopped worrying if it was going to be clean or pristine, it became really awesome. Everybody remembers this one moment where Brendan was shirtless smoking a cigarette on his back with plumes of smoke in the sky, and for a brief second, it felt like what a Rolling Stones or David Bowie session must have been like in ’60s or ’70s where everyone is vibrating at the same frequency, all tuned in and working towards one take where you can say, “That’s it.”

MONACO: Having that divide between us and Brendan was integral to making this record become what it was. 

O’CALLAGHAN: It also was affirming of our ability as a band. Brendan treated us as equals and as peers without looking down at us or as subjects. 

KENNEDY BROCK: Having that come from somebody who was in a band that we greatly respected was a cool and different perspective that we hadn’t had before. He really opened a lot of doors for us.

American Candy (2015)

O’CALLAGHAN: I don’t think we’ve ever had a scenario as obvious as this one. We had back-to-back records where we had something to rebel against. With Pioneer, we were rebelling against an idea and the establishment, and with this one, we were rebelling against the somber experience we gave people with Forever Halloween. I remember the discussion when I brought up wanting to do something more optimistic for this record. It was a good challenge to do it and make sure it wasn’t overtly poppy and still have some fangs.

To see the reaction that it garnered, it was a harkening back to the Myspace days where there was a tangible feeling of the response. The clubs we were playing got a little bigger, and the response online got a little more loud and feverish. On Warped Tour after the record came out, I remember that being the moment where we allowed more people into the fold here and to not get hyperspecific on just one mood. 

NICKELSEN: The biggest thing was giving away some of the protection we hold and giving it to Colby Wedgeworth, the producer, to guide the songs and take a leadership role. It changed everything for us. 

KIRCH: Once we did the first two songs, “English Girls” and “Miles Away,” we were on cloud nine. I had never felt so good and knew we had something that people were going to enjoy. The rest of the record was the icing on the cake. 

NICKELSEN: All I think about is that we were so happy making it. The excitement felt really cool, and the tours on that record were great. It was like restarting in a way. 

Lovely Little Lonely (2017)

KIRCH: After American Candy, we had the attitude for the first time to not break everything that we just did and flip it on its head. We wanted to continue to build upon the last record and improve upon it. 

NICKELSEN: We went into it as if it were our second album, and if you listen to this record and American Candy, they are somewhat similar or complementary at least. Giving Colby even more leadership really guided a song like “Black Butterflies And Deja Vu” to what it was, which happened a few times on this record. 

KIRCH: Again, this record was awesome to make, and when we finished the song “Bad Behavior,” it was that exact same feeling of confidence. I remember listening back to it and jumping around and being pumped. As incredible as it all was, it felt like our time with Colby to do that again couldn’t happen with the next record. We had done what we were supposed to do with that time period. 

NICKELSEN: The recording of that record was at the most beautiful place in the planet, but was impossible for gear. Everything kept breaking, so we only used this one Orange amp that worked for the whole record, which had a frustrating aspect, too.

MONACO: That changed my philosophy on gear forever, where I’m like, “Fuck it, I’ll play whatever if it works.” [Laughs.] 

You Are OK (2019)

KIRCH: To be honest, after our first record, we hadn’t talked to [Can’t Stop Won’t Stop producer] Matt Squire in years, but we remembered how much he brought out of us. We love what Colby did for our band so much, but felt like Matt could help pick what songs are the best and take an idea from a B to an A. We wanted to make the best record at that time, so we went back to Matt. We did feel a little lost on where to go with this album. 

O’CALLAGHAN: We knew we didn’t want to do something similar to Lovely Little Lonely. This was the most difficult record for us to wrap our heads around because we didn’t want to deviate from the feeling of people being energized by our band, but we still wanted to deviate musically and try something new. That’s where all the string arrangements [on the record] came from. We had never had too many session players come in before this record, so it was really cool to hear it back. In that time and era, we had some really real elements that helped the record stand out against other records that came out around that time. 

KIRCH: That record showed us that we needed songs for the live shows, and I think that’s what we got with this record. When I think of this record, I think of the shows. These songs, to this day, bring more energy to our live show that is even more important than what the album could even be.

O’CALLAGHAN: I feel like potentially the messaging behind the record was more important than any given song. This record generated the most tattoos we have seen, and I think the sentiment behind it resonated with a lot of people. 

XOXO: From Love And Anxiety In Real Time (2021)

O’CALLAGHAN: The big thing that I think all of us failed to collectively realize is that we did produce this record “ourselves.” However, we had our good friend Matt Keller engineer it and play an overseer role, as well as Colby helping to facilitate all of the sounds and help us get streamlined. [Creating this record] was similar to Pioneer, and we learned so much from this experience, especially having 27 songs written for it. We had a more direct idea of the songs this time and knew we only wanted to record the good ones. [Laughs.]

There were a few that didn’t make it because not everybody was on board with them, and with this record, everything you hear is songs that everyone was on board with. Normally, you make a record and go on tour to read the room and see if people are on board, so it’s been interesting to not have that [right away]. With this new tour, it’s a really exciting time to bring it all together and deliver it to people for the first time in a room.

The Maine (2023)

O’CALLAGHAN: There were really only two questions that dictated the writing and recording of our self-titled…

1. How will it translate live?

2. Do the six of us, Colby included, love it?

Tempo and feeling have always been concepts we’ve vaguely talked about on other records, but it somehow took us eight of them to actually put it into action. We looked to tunes that either demanded our bodies to move or made our hearts want to break for inspiration and did our damndest to achieve those same feelings in these songs. 

I’ll remember a lot from recording No. 9, but the thing I’ll remember most fondly is the sense of a forgotten youth I felt throughout the process. Much of it had to do with reuniting with [producer] Colby Wedgeworth, and much of it had to do with an idea in my head that resounded, “What if this is the last time?”

Since 2022, Sound And Fury has laid claim to its new home in the glorious fields of Exposition Park in Downtown Los Angeles for a two-day music festival that showcases the heavy-hitting sounds of the next generation of hardcore — as well as the seasoned veterans that have grinded for decades to lay the foundation for this now-historical musical movement. 

Read more: Sound and Fury Festival 2022 spotlights the new face of hardcore, from Anxious to Scowl

It goes without saying that 2022 was a banner year for Sound And Fury, delivering one of the most stacked lineups in recent history with some of the most engaged and frenetic crowds. It also featured several crossover acts such as the more accessible Militarie Gun, Scowl, Koyo, Anxious, and Drain that have not only captivated hardcore masses but have since broken out into the mainstream. 

Entering 2023, the question on most people’s minds was how the festival would attempt to follow up the iconic year prior. Thankfully, Sound And Fury, along with co-sponsor, alternative streetwear brand Brain Dead, came prepared to make this year’s iteration just as impactful. Instead of playing it safe and attempting to recreate the same magic from 2022’s bill, Sound And Fury, which took place this past weekend in Los Angeles, opted to defy expectations and skew the festival back towards its heavier and darker roots. Save for a few mellower acts such as Fleshwater and High Vis, Sound And Fury 2023 primarily served as a battleground for the most accomplished spin-kickers and stage divers. 

When Saturday rolled around and the festival began its official kick-off, the first of many iconic moments came from rising Long Island, New York, beatdown hardcore group Pain Of Truth. The East Coast band set the grounds ablaze with their blend of down-tuned slam grooves that rivaled even the scorching July sun and resulted in countless circle pits and singalongs. Shortly after, Orange County hardcore-punks Fury took the stage after a lengthy hiatus and offered a lighthearted and engaged set that made every Southern California native proud to claim them as their own. 

However, the most memorable moment of the day culminated with the triumphant return of Twitching Tongues, led by the “Gallagher Brothers” of hardcore, Colin and Taylor Young, who offered an almost ceremonial and theatrical performance to make their live debut, after a nearly five-year hiatus, as epic as possible. It was hard not to tear up watching vocalist Colin Young be visibly emotional while singing the band’s classic track “Insane & Inhumane,” which he wrote at the young age of 18. 

Following Twitching Tongues set, fans were treated with the greatest surprise of the weekend, an impromptu performance by Bay Area punks Ceremony who played a blistering five-song set that featured only the band’s early and most frantic powerviolence tracks that have been mainly absent from their live sets ever since the group ventured into more post-punk and new wave territory over the last decade. The night ended with a performance from Pennsylvania metalcore staples Cold World, who were undoubtedly the best choice to end the night off with a proverbial bang. 

On Sunday, Sound And Fury became more electrified and crowded with eager showgoers since the lineup for the closing day was arguably the most stacked. The first highlight of the day came from Portland-based metalcore revivalists Dying Wish, who added a welcome dose of melody and venom courtesy of frontwoman Emma Boster who can seamlessly alternate between guttural screams to soaring and angelic clean vocals without missing a beat. 

Following Dying Wish, and on the polar opposite side of the spectrum, were Sanguisugabogg, the reincarnation of all the best parts of ‘90s death metal through a fresh, modern lens, significantly changing the standard hardcore fare. Sanguisugabogg’s set proved just how much the young Ohio death metalheads want to insert a level of fun and humor into their sets, going as far as to play a game of “Murder Ball” by throwing a football into the crowd and offering free merchandise to whoever was able to hold on to the ball for the duration of the set amidst some of the most visceral mosh pits of the day. 

Next up were San Fernando Valley’s finest hardcore act God’s Hate, who made their annual return to the stage, following last year’s unforgettable performance, playing all of their beloved tracks as well as an immaculate rendition of Marauder’s 1995 cult-classic hit “Master Killer” to the delight of everyone in attendance. 

With God’s Hate proclaiming to be “number one in violence” in the scene, it was surprising to see that No Pressure would follow them up, who are arguably the most melodic and pop-punk-tinged acts of the lineup. Musical differences aside, No Pressure owned the moment and performed a career-defining set that resulted in the most stage dives and crowd surfings of the day, set to the backdrop of the Los Angeles sunset and the sound of ‘90s melodic punk in the vein of Lifetime and Kid Dynamite. 

At last, the night closed with a colossal performance from Baltimore hardcore royalty, Trapped Under Ice, who welcomed back their founding drummer Brendan Yates, who is now best-known as the lead vocalist of the larger-than-life Turnstile. The entire hardcore community showed up for Trapped Under Ice, Even A-list musicians such as Travis Barker (blink-182) and Jesse Rutherford (The Neighbourhood) showed their support, which is another testament to how far the hardcore musical movement has come in recent years. 

Sound And Fury 2023 was yet another landmark year that celebrated the talented folks who put it together and the community of showgoers that brought it to life. Sound And Fury offered the perfect balance between unity, controlled chaos, and a healthy dose of danger that can only be found in this community. It is clear that hardcore isn’t going anywhere anytime soon, and Sound And Fury will always be at the center of it all.

In a makeshift green room, crowding around a small TV watching an NBA game among friends, Butler is visibly beaming with excitement and eager to discuss what the night ahead represents for not only himself and his band but his community and culture as a whole. “The intentions here are to put on display not only where I’m from and how I came into this scene but to also show that there is still very much a scene here and a new one that we can cultivate,” Butler asserts. 

Read more: The Mars Volta albums ranked: From worst to best

Dubbed the “Fever Function,” Butler was inspired to curate an event that harked back to his upbringing, which he spent going to both DIY punk and hip-hop shows in the neighborhood every chance he could get. “It was the most beautiful time of my life,” Butler admits. “Amidst all the adversity I felt, whether environmentally, politically, or culturally, I felt safe, seen, and unique whenever I came to the hood to see these shows. It felt like our own bubble that we were feeding, nurturing, and exploring all at once.” 

The “Fever Function” was a community affair that transformed a small DIY space into a vessel of endless opportunities for engagement. “This house is made for people to dwell and live, but we’re creating a space where people can connect, share, perform, and be seen,” Butler says. “The DIY spirit is made to show you that anything is possible.”

At sunset, FEVER 333 triumphantly took the stage. Adorning custom white jumpsuits, Butler was surrounded by an all-new lineup, including drummer Thomas Pridgen (The Mars Volta, Trash Talk, Snoop Dogg), viral bass virtuoso April Kae, and guitarist Brandon Davis (Lions Lions, ex-Vanna). It was abundantly clear that things were about to get wild. 

FEVER 333 played a blistering 35-minute set of fan-favorite tracks, as well as the live debut of their yet-to-be-released song “Swing.” Put simply, the band sounded more rejuvenated than ever. The performance was almost ceremonial, with Butler continuing to redefine the meaning of crowd engagement and pushing the boundaries of physicality and exhibition that rivaled seasoned acts. Between songs, he touched on the band’s core mission of enriching and supporting BIPOC and LGBTQIA+ communities, with those in the crowd listening attentively (which included Zulu, Meet Me @ The Altar, H2O frontman Toby Morse and bassist Skyler Acord (Issues, twenty one pilots). 

At that moment, there was a palpable sense of gratefulness that heavy music has such a fearless voice in Butler, who remains committed to speaking out for the marginalized and selflessly puts in the work for significant societal change. 

When Butler announced the final song, the daredevil frontman climbed atop the roof of the house and screamed his heart out before leaping into the crowd below. Butler then crowd-surfed the entire backyard perimeter, threw a garbage can in the air, incited a circle pit, and poured every ounce of his soul into the set’s final minutes. As the show ended, the backyard was littered with beer cans and smiles, with guests roaring with applause. The “Fever Function” was the perfect way to welcome the next chapter of FEVER 333 and the power of music and community.

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FEVER 333 unveil new lineup ahead of Sick New World 2023

Gallery Credit: Kat Nijmeddin

Kat Nijmeddin

FEVER 333

Kat Nijmeddin

FEVER 333

Kat Nijmeddin

FEVER 333

Kat Nijmeddin

FEVER 333

Kat Nijmeddin

FEVER 333

Kat Nijmeddin

FEVER 333

Kat Nijmeddin

FEVER 333

Kat Nijmeddin

FEVER 333

Kat Nijmeddin

FEVER 333

Kat Nijmeddin

FEVER 333

Read more: Sum 41 still remember creating the magic and mayhem behind their 2002 hit “Still Waiting”

Following the success of their debut album, All Killer No Filler, Sum 41 became pop-punk darlings captivating the masses across the radio and MTV. But instead of capitalizing on their early buzz and playing it safe by writing more accessible music, the band opted to up the intensity of their music. Sum 41 have since had quite a distinguished career, with millions of albums sold worldwide, Grammy nominations, and Juno awards, among many other milestones. Though they have made missteps and divisive records along the way, their legacy remains intact. 

Every Sum 41 album ranked

Hopeless

7. 13 Voices (2016)

Following their fifth and somewhat divisive studio album, Screaming Bloody Murder, much had changed for Sum 41. Vocalist/guitarist Deryck Whibley had come very close to death due to his highly publicized alcohol misuse and a near-fatal experience with kidney failure, which would require years of recovery and rehabilitation. Though 13 Voices was meant to be a triumphant return with drummer Frank Zummo joining the band (and guitarist Dave Baksh returning), the album didn’t live up to the hype. Lead single "Fake My Own Death" is the only genuinely memorable song from the record, as it felt like a modern take on their best songs from Does This Look Infected?, while songs like "War" and "God Save Us All (Death to POP)" felt like they were grasping at straws by being critical of mainstream music while also playing their part in trying to imitate it. 

Hopeless

6. Order in Decline (2019)

Leading up to the release of their seventh studio album, Order in Decline, Sum 41 teased that the record would contain their heaviest material to date. When the band finally unveiled the album, they certainly weren’t joking. The record was loaded with guitar riffs plucked directly from their biggest musical influences, ranging from '80s hair-metal titans Guns N' Roses to blistering metal virtuoso licks in the vein of Iron Maiden and Slayer, courtesy of Baksh. 

The singles "Out For Blood" and "45 (A Matter of Time)" were intelligent choices for the band to lead with, showing signs that they were hungrier than ever, pissed off, and ready to defy any notions that they were a band of the past. The album also features timely lyrics that capture the chaotic and divisive political and social times, as the 2010s were coming to a close, giving the songs considerable depth. 

Island

5. Screaming Bloody Murder (2011)

Going into the writing process for Sum 41's fifth studio album, Screaming Bloody Murder, Whibley was in a transitional phase, personally and musically. The frontman was newly divorced and had made headlines across tabloids for years. Screaming Bloody Murder was born from a debaucherous recording process (documented in the highly entertaining documentary Don't Try This At Home) and captured the whiskey-soaked nights as Whibley picked up the pieces while living and writing in a picturesque Hollywood Hills mansion. Screaming Bloody Murder is an enjoyable emotional roller coaster, with high-octane riffs and highly personal lyrics. Exceptional tracks include “Blood In My Eyes" and the title track, which can hold a candle to the most beloved songs in their catalog, as well as deep cuts "Jessica Kill" and the cult-favorite track "Skumfuk." 

Aquarius/Island

4. Underclass Hero (2007)

2007's Underclass Hero marked Sum 41's return to their pop-punk roots after years of dipping into heavier sounds. The result was an album with an easy listening experience that captured untapped youthful energy while touching on their tender sides. Singles such as "Walking Disaster" and "With Me" successfully reignited the band's spark and penchant for writing accessible yet timeless radio-ready songs, while deeper cuts such as "Speak Of The Devil,” "Pull The Curtain" and "Dear Father" tugged at your heartstrings. Underclass Hero’s key tracks set the stage for the modern pop-punk revival, as they sound like they could easily fit on any Machine Gun Kelly or MOD SUN release. The only disappointing moment on the album was the title track, which sounded like an unapologetic attempt at recreating their beloved hit single "Fat Lip.” 

Aquarius/Island

3. All Killer No Filler (2001)

For nostalgia-obsessed fans, Sum 41's debut album, All Killer No Filler, is often considered their best record. It represents the blissful days of the early 2000s spent drinking Mountain Dew, eating Bagel Bites, and crowding around a CRT television to play the newest Tony Hawk game with your best friends. Produced by the late Jerry Finn (blink-182, AFI), All Killer No Filler fused the hip-hop playfulness of acts like Beastie Boys over major chords and bouncing guitar riffs a la blink-182 or Green Day that likely scored at least one of your favorite teen comedy films. The lead singles "Fat Lip" and "In Too Deep" were inescapable upon release and introduced the world to four instantly likable guys whom you couldn't help but dream of hanging out with. Sum 41 also proved that they didn’t have to always take themselves too seriously, as showcased on the over-the-top, faux-satanic metal closer "Pain For Pleasure."

Aquarius/Island

2. Chuck (2004)

In 2004, Sum 41 took a trip to the Democratic Republic of the Congo to film a documentary with War Child Canada titled Rocked: Sum 41 in Congo. Without warning, the band were caught amid a terrifying armed conflict that resulted in them hiding in their hotel for days and questioning if they would make it out alive. Thankfully, the band were saved by U.N. peacekeeper Charles "Chuck" Pelletier, who evacuated them via armored carriers. In response to the heroic act, Sum 41 named their third album in his honor. Chuck was a dark onslaught of hardcore punk that allowed for relevant political undertones to guide the lyrics. Chuck's heaviest moments, including "The Bitter End," "Angels With Dirty Faces," and "No Reason,” felt tailor-made for fans of Slayer and Hatebreed. The ballads “Pieces" and "Some Say" also reinforced the fact that the class clowns of Canadian pop punk had matured considerably. 

Aquarius/Island

1. Does This Look Infected? (2002)

Sum 41's sophomore record, Does This Look Infected?, remains their best. The album single-handedly expanded on all of the best parts of their debut while incorporating tasteful sonic and lyrical changes that added seriousness without losing any of the fun. These changes included an emphasis on heaviness and horror-punk with tracks such as "Billy Spleen, "Hooch," and "Mr. Amsterdam," all of which added a unique (and rather morbid) aesthetic and mood. 

Sum 41 also doubled down on writing larger-than-life choruses, such as "The Hell Song," "Over My Head (Better Off Dead)," and the instant-classic "Still Waiting." Lyrically, Whibley used the songs on Does This Look Infected? to confront concepts of mortality, existentialism, war, and reckless behaviors — in a new post-9/11 world and just as he was beginning to settle into his rock star status.  

Red Hot Chili Peppers are undoubtedly the sum of four distinct and crucial characters, including their most consistent lineup of vocalist Anthony Kiedis, bassist Flea, guitarist John Frusciante and drummer Chad Smith (who is a doppelganger of actor/comedian Will Ferrell). Most recognizable are Flea’s intricate and commanding basslines and the simple imagery and lyricism of Kiedis, who is in many ways more of a poet than a bonafide vocal powerhouse. When these two elements are combined with the locked-in grooves of Smith and the vibrant guitar brush strokes of Frusciante, you get the signature Chili Peppers sound, perfect for a trippy California day spent soaking up the sun. 

Read more: 20 greatest punk-rock vocalists of all time

And while the band’s music is often laid back, playful, and mellow, there’s still an underlying darkness and serious self-reflective narrative that creeps in due to their early years spent navigating addiction, trauma, and untimely deaths. In fact, things were so bleak for the band in the ’80s and into the mid-’90s, it wouldn’t have been wrong to assume that the band would never make it 40 years. Thirteen records, countless platinum certifications and sold-out world tours later, Red Hot Chili Peppers beat the odds and are now spending their time celebrating the victories and holding on to the same creative spark that brought them together in the first place. 

Every Red Hot Chili Peppers album ranked

Warner

13. Stadium Arcadium (2006)

Unless you are Pink Floyd, a double album is never a good idea, and Red Hot Chili Peppers’ Stadium Arcadium is no exception. The record, save for a few hidden games, is bloated and shows a band lost in an echo chamber of nonsense ideas. While the album does contain some of the band's most commercially successful singles, such as "Snow (Hey Oh)" and "Dani California," it is hard to not cringe that these songs are still regularly played over the speakers of dead-end malls and J.C. Penny dressing rooms around the country. It is a shame that Stadium Arcadium marked the last record with Frusciante before he took his second hiatus from the band in the years following the release before returning in 2019. 

"Desecration Smile," which kicks off the second half of the double album, is serviceable with Frusciante's vocal additions and unmistakable guitar tone. However, it still feels like a worse B-side from the By The Way Sessions. Funny enough, the album's most critically panned single, "Hump de Bump," is the most enjoyable because it is so stupid that it works with the over-the-top basslines and cowbell solos that can't help but make even the most jaded Chili Peppers fans crack a smile. 

Warner

12. I’m With You (2011)

Much had changed in the Red Hot Chili Peppers world in the five years since the release of Stadium Arcadium. The band enlisted touring auxiliary guitarist Josh Klinghoffer to fill the enormous shoes of Frusciante. Though he tried his best, the magic was gone at that point, and this record was dead in the water from the start. 

While opening track "Monarchy of Roses" is a fun step into dance-punk territory for the band, as well as the catchy lead single "The Adventures of Rain Dance Maggie" and the shredding guitar work of "Goodbye Hooray," the remainder of I'm With You is underwhelming. In fact, the biggest issue with the record is that it elicits next to no emotional response, whether good or bad. However, it’s still worth giving the band props for trying new things instead of simply regurgitating an easy radio hit or two. For that, all is forgiven, Chili Peppers. 

Warner

11. Unlimited Love (2022)

In 2019, the impossible happened. Beloved guitarist and songwriter John Frusciante rejoined Red Hot Chili Peppers after another 10-year hiatus from the band, and undoubtedly the hype leading up to their 12th studio album, Unlimited Love, was through the roof. Thankfully, the band delivered 17 genre-spanning tracks that touch on just about every sonic path the band had ventured on throughout the last 40 years. Standout tracks include "Here Ever After," which felt plucked straight from the By The Way era, albeit with a sharper edge, as well as "Aquatic Mouth Dance," which showed the band returning to their early funk roots and in many ways could be looked at as a spiritual sibling to their beloved track "Aeroplane."  

"Bastards of Light" is another fun track that offers just about everything that makes Red Hot Chili Peppers great, including soaring harmonies, playful grooves, and mesmerizing guitar riffs. Additionally, the 12-string acoustic-driven closing track "Tangelo" ends the record on an intimate note that features Kiedis' vocals raw and upfront with nothing to hide behind save for a few flourishes of organs that caps off the overall sonic experience quite beautifully. The only major critique of the album, along with most of their releases, is the long run time that often results in several filler tracks. Still, the band desperately need to learn that it is always best to have quality over quantity. 

Warner

10. Return of the Dream Canteen (2022)

From the moment the throwback-funk opening track "Tippa My Tongue" kicks off, it is clear that Red Hot Chili Peppers are having the time of their life, celebrating their restored personal and musical relationship and letting the good times flow. Their 13th record, Return of the Dream Canteen, was written and recorded during the sessions for their previous album, Unlimited Love. Still, it feels like something other than a collection of B-sides. Take a song such as "Eddie," which pays a warm tribute to the late Eddie Van Halen, and it is clear that the band are simply flowing with good ideas. This track, in particular, is one of their strongest since 2002's By The Way. And not to mention, "Fake as Fu@k" feels like the band are back in their 20s again, and with the addition of horn sections, the track is pure nonstop fun. 

Other highlights include "Afterlife" and "Bella," which both pair alluring grooves with lyrical sincerity, as well as the grunge-tinged "Bag of Grins." Once again, the main glaring issue with the record is the sheer length and excess of unneeded tracks, such as the painfully dull "In The Snow" and "La La La La La La La La." 

Warner

9. The Getaway (2016)

For their 11th studio album, The Getaway, Red Hot Chili Peppers parted ways with longtime producer/collaborator Rick Rubin and enlisted fresh ears with producer Danger Mouse (Gorillaz, MF DOOM, the Black Keys). This was a stellar move for the band and helped open a realm of new possibilities and sounds that they had yet to explore. On The Getaway, guitarist Klinghoffer also seemed to have been settling further into his role (though it would be his last with the band) and managed to insert a great deal of artistic character into tracks such as "The Longest Wave" and "Detroit," the latter of which felt like the band finally tapping back into their aggressive spirit. 

Danger Mouse's production felt warm and analog in every sense. The record is balanced quite well, where every part feels intentional, direct, and simply not buried beneath stacks of unnecessary instruments. Additionally, Danger Mouse pushed the band to pen some of the most left-field and inventive songs of their later career, including the thumping lead single "Dark Necessities" and the piano and the horn-driven ballad "The Hunter," which both felt like high art when stacked up against their more pedestrian material on the previous release. The title track and the song "Go Robot," also captured the band's classic tendency for infectious grooves in striking new ways. The Getaway was a blessing in the middle of an otherwise underwhelming later era for the band. 

EMI/Capitol

8. The Red Hot Chili Peppers (1984)

Upon releasing their 1984 self-titled debut album, Red Hot Chili Peppers' resident bass virtuoso Flea once described the band's music as "bone-crunching mayhem funk," in their first interview for MTV, which honestly couldn't be a better way to explain their sound. In addition, he pledged that the band's motto around the release was to always play as if they had a "big dick." Phallic comparisons aside, Red Hot Chili Peppers' first album is as raw as it gets for the band and can be argued as being a pioneering funk-metal album. 

Take for example the track "Get Up and Jump," which is sure to incite the same visceral reaction as the title suggests. This album could quite possibly be the band's only proper mosh-worthy release to date. Other gems include the hilarious and X-inspired single "True Men Don't Kill Coyotes" and "Out In L.A.," the first song the band ever wrote. Notably, the self-titled album is their only record to include the late guitarist Jack Sherman, who took over for founding member Hillel Slovak during his brief hiatus from the group.  

EMI

7. Freaky Styley (1985)

Freaky Styley is perhaps Red Hot Chili Peppers' most bat-shit crazy record in their catalog. Produced by the eccentric and highly influential Parliament-Funkadelic ringleader George Clinton in Detroit, Michigan, Freaky Styley was the product of a nonstop debaucherous studio party experience. Upon first listening to the record, it makes sense that it sounds the way it does, but that is part of its overall charm. Tracks such as "Jungle Man" incorporate almost tribal elements, especially with the drums and vocalist Anthony Kiedis' inflections that sound almost like a confident rock ‘n’ roll version of Tarzan, beating his chest with vigor and pure testosterone. 

Freaky Styley also includes a cover of Sly & The Family Stone's classic hit "If You Want Me To Stay," which does the original justice. Not to mention, the band's first semi-breakthrough single, "Catholic School Girls Rule," is in many ways one of their most urgent and high-octane tracks to date. Lastly, we cannot forget "Yertle The Turtle," which features a spoken-word intro from Clinton's cocaine dealer, who demanded payment for the drugs he supplied. Still, as they could not pay, they offered him a brief cameo, which he accepted and is now forever immortalized in the chaotic funk banger of a track. 

Warner

6. One Hot Minute (1995)

In retrospect, Red Hot Chili Peppers' 1995 album One Hot Minute was always destined to fail no matter what. The band had the enormous weight of hype and passing time following the release of their mainstream breakthrough album Blood Sugar Sex Magik — as well as experiencing the first departure of chief songwriter and guitarist Frusciante in 1992. One Hot Minute was the first and only album to feature guitarist Dave Navarro of Jane's Addiction. It showed the band in the midst of an identity crisis — essentially trading in their signature funk sound for new styles, including grunge and psych rock.

While the album was a commercial and critical flop, it did feature some truly great songs. That includes "Warped," which showed the heaviest and darkest sound we probably ever will get from the band, as well as the acoustic-driven ballad "My Friends," which is perhaps one of the best songs they have ever written. Additionally, the throwback funk sound of "Aeroplane" still holds a candle to even their most iconic tracks and features an incredible music video that screams '90s nostalgia. "Tearjerker" is also one of their most criminally underrated songs and offers a heartwarming tribute to the late Kurt Cobain that will surely trigger a tear or two. All in all, One Hot Minute can be considered a cult classic with a host of underrated gems that got lost throughout history. 

EMI

5. The Uplift Mofo Party Plan (1987)

Red Hot Chili Peppers' The Uplift Mofo Party Plan is the essential rock-leaning album in their catalog. In fact, without this record, there might not have been a rap-rock movement barely a decade later with groups such as Limp Bizkit and Crazy Town. The Uplift Mofo Party Plan is the only Red Hot Chili Peppers album to feature the original founding lineup. By the sound of the record, the band were beginning to fire on all cylinders and refine their musical chemistry in exciting new ways. 

Lead single "Fight Like a Brave" is tailor-made for amping up a sports team before a big game, and songs such as "Me and My Friends" and "Skinny Sweaty Man" are pure chaos. "Behind The Sun" marked the first time the band truly leaned on melody, pretty vocals, and accessibility, all to great results. We also cannot forget their cover of Bob Dylan's "Subterranean Homesick Blues," which transforms the original source material in magical new ways and shows a locked-in funk band playing perfectly in the pocket.

EMI

4. Mother’s Milk (1989)

Mother's Milk, the fourth studio album from Red Hot Chili Peppers, marked the end of an era and, at the same time, a new beginning. This album was the first to be released following the untimely death of founding guitarist Hillel Slovak and the departure of original drummer Jack Irons after the tragedy. However, Red Hot Chili Peppers' dynamic duo of Kiedis and Flea miraculously persevered and enlisted new members John Frusciante (guitar) and Chad Smith (drums), who are now considered to be the key players who primarily represent the Chili Peppers we all know and love today. 

With the band's musical dynamic restored, the band penned triumphant songs such as "Knock Me Down," which serves as an anthem for recovery following addiction. Additionally, the band nailed their renditions of "Fire" by Jimi Hendrix and "Higher Ground" by Stevie Wonder, the latter of which has even become as iconic as the original. Other highlights include the sultry and sly "Taste The Pain," which features a genuinely epic trumpet solo, and "Johnny, Kick A Hole In The Sky," a precursor to the band's later sound. We cannot forget the instrumental bliss of "Pretty Little Ditty," later sampled by nu-metal one-hit wonders Crazy Town on their iconic track "Butterfly." Mother's Milk was a well-deserved victory lap for the band, and including the then-19-year-old Frusciante added a fresh new perspective and energy to the band's songwriting. 

Warner

3. Californication (1999)

In 1999, Red Hot Chili Peppers rose from the ashes of addiction, inner-band turmoil, critical failures, and devastating departures with the release of one of their most beloved albums, Californication. The LP marked the return of Frusciante after beating near-fatal drug addictions and a seven-year hiatus from the band. The result is an album that felt like the band were finally able to let the light back in. From hits such as the somber ballad "Otherside" and "Californication," which features arguably one of the most iconic videos of the '90s, to the reflective intimacy of "Scar Tissue" and the brilliant funk gibberish of "Around The World," Californication had something for every Chili Peppers fan. Additionally, the record highlighted the tremendous growth Kiedis experienced as a vocalist, proving that he was so much more than a glorified hype man spouting nonsense over funk rock. 

Californication was also the record that set the stage for the band's later years, incorporating breezy melodies and more accessible song structures while paying homage regularly to their love of California. The only major critique of the record is, of course, the mix and overall production. While the band's longtime record producer Rubin manned the boards again for this release, the record has an over-compressed quality. It is often regarded as an early yet negative example of the loudness wars of the new millennium. 

Warner

2. By The Way (2002)

By The Way takes what the band were beginning to develop previously on Californication in terms of more mellow sounds and melodically rich arrangements and dials it up to 11. The record was primarily spearheaded by Frusciante in terms of melody and song structure, with Kiedis using the lyrics to analyze the last two decades of his life spent on the road as a full-time rock star and the various setbacks, heartbreaks, and high points that came along the way. By The Way is hands down the lushest record in their catalog and features impeccable harmonies between Kiedis and Frusciante. Standout tracks include the title track and its rapid-fire vocal deliveries and "The Zephyr Song," with its almost lullaby qualities. Additionally, their smash hit single "Can't Stop" feels like the thesis statement behind the band's overall mission and core sound. 

Warner

1. Blood Sugar Sex Magik (1991)

When looking back at the '90s, it really doesn't get more iconic than 1991. That year spawned the acclaimed Nirvana album Nevermind, Pearl Jam's Ten, Soundgarden's Badmotorfinger, and, of course, Red Hot Chili Peppers' best album, Blood Sugar Sex Magik. Pound for pound, Blood Sugar Sex Magik contains the band's most memorable and quality tracks, including everything from the barn burners "Give It Away" and "Suck My Kiss to stunning ballads such as "I Could Have Lied," which almost an emo song if you really think about it, and "Under The Bridge," which is considered to be the quintessential Chili Peppers track that paints an unforgettable picture of Kiedis' addiction and steps toward healing. 

Other highlights include "Breaking The Girl," which details the brief romance between Kiedis and enigmatic '90s singer-songwriter Sinead O'Connor and the universally relevant cry for social justice of the opening track "The Power Of Equality." While Blood Sugar Sex Magik marked a new and more profound shift in perspective and lyricism, the band still allow some comedic gold to shine through as well with tracks such as "They're Red Hot" and the nearly eight-and-a-half long epic "Sir Psycho Sexy," which chronicles a fictitious encounter with a seductive police officer.

Read more: 20 essential Avenged Sevenfold songs that will turn you into a fan

With his latest record, Green sacrifices any sense of personal boundaries to expel the darkness and find light in the process. The majority of the record, while touching on actual tragic events, is more of an exercise in finding the silver linings.. 

The Love Still Held Me Near also happens to be the most sonically expansive record in Green’s catalog thus far. Incorporating everything from gospel-like arrangements (“Underground“), classic rock (“The Love Still Held Me Near” and “The Water Is Coming”), to haunting Americana-laced folk (“The Things We Choose To Care About” and “Fucked It Up“) the record plays out like a love letter to Green’s 25-plus-year career. 

In an interview with AP, Green details the complex process of writing a record amid tragedy, pandemics, and a mid-life crisis, his journey of self-discovery and perseverance, and falling back in love with life and art.  

With opener “Meant To Be,”you touch on these enormous losses you experienced in the past few years and wrestle with the idea of faith in the face of tragedy. What was it about the concept of faith that was so intriguing to you? 

I was raised Catholic and went to church when I was younger. I’ve always used religious imagery in my songs [in the past] and assumed that this song would turn into an intersection where I eulogize my friend — but also question these big ideas. The first line that came to me was “the sun kept on rising,” and it’s this idea where we show up and there are simple truths that we are taught, but since I was faced with these perfectly tailor-made mid-life crisis moments with nothing but time to ruminate on them, it became this anchor to dig deep and break myself out of all the shit I had been through. 

Despite going through your “mid-life crisis,” you were quite prolific,  writing and recording The Love Still Held Me Near and releasing your other band Alexisonfire’s fifth studio album, Otherness. Was creating a survival tactic?

Yes, and I had forgotten that for a little bit. So much had gone on in my life in 2019 and when the pandemic came crashing down on everyone, I was so confused and crushed by the fear of the unknown we were all experiencing. I didn’t even realize that I could use this time wisely, and it wasn’t until I started jamming with Alexisonfire where the clouds began to clear for me. We found our way back to this beautiful creative place again and it reminded me of how important that is to me. I don’t mean making a record and selling it to people, it’s really just about creating, and I have always leaned on music as a coping mechanism, for sure. 

The Love Still Held Me Near feels like the most diverse record of your catalog. Why has exploring different genres been so important to you?

I know it has always been confusing to some people that I can be one way in the band and different in the other. However, for me, it has always been natural to explore all of these different sounds and juxtapositions. As a child, I always loved the way a loud guitar sounds, but also loved the way a female voice sounds on an R&B track. I have also loved unlistenable metal , to simple bare-bones guitars with three part harmonies on top. I didn’t know that I would be able to cultivate all of these elements into my musical career, but if you had asked me 25 years ago given the chance, I would have said this is [exactly] what I always wanted to explore.

With this record, it was very important for me to make a raw, analog sounding record this time because the songs lend themselves to it. At the same time, I also was being very emotionally bare and felt the music needed to represent that. I love being able to have a record like this where I can have a song like “Things We Choose to Care About,” which is as sparse as you can make it,  but then have a song like “The Water Is Coming” that explodes into layers and layers of guitars.

[Photo by Vanessa Heins]

Looking at a song like “Without Warning,” you mention how you are not going to surrender in the face of hardship. Beyond music, how did you gain the perspective to find these silver linings in the midst of darkness?

It was a lot of conversations with loved ones and friends, and in those deep months in the pandemic, you had to do a lot of self-inventory. It was a lot of reading, writing, and simply just wanting to get rid of it. I realized that I was alive, was going to be okay,  [was] not focusing on the negative parts of everything, and [was] trying to find the light. The love and the light were the things that kept me sane, so that’s what I wanted the music to convey. There are a lot of people who are expecting this record to be a really sad record, but I think it’s full of joy and hope. 

With The Love Still Held Me Near being your seventh full-length album, what do you hope it does for your career and what do you look forward to the most about this next chapter? 

I’ve reached a point in my musical career where I have accomplished more than I ever thought I would. Something I realized in the middle of all of this is that I have everything I have ever wanted to have. I just hoped to be able to make a life creating music and to find an audience that listens to it. I needed it all to go away to realize what I do have. Making the record was all I needed.