Read more: Every Andrew McMahon album ranked

With his new album, Tilt At The Wind No More, out today, AltPress caught up with McMahon on Zoom to explore the release. McMahon talked about falling off inflatable pool toys while crowd surfing, the difficulties of reuniting Something Corporate now that everyone has a day job, and how his daughter, Cecilia, is his No. 1 fan (and sometimes collaborator). Below, he also opens up about how making peace with history led to his latest record. 

During lockdown, you were doing so many at-home concerts on Instagram Live. A lot of people were asking for deep cuts. Did any of those inspire anything on this new album?

In a more abstract way. During the pandemic, I was writing the book at the same time. There was a sense in me that I made peace with a lot of that history. It was more focused on the beauty of those days as I moved out of Something Corporate into Jack’s Mannequin, and out of Jack’s Mannequin into the Wilderness era. 

Hearing the requests for my catalog, and then working through some of the history that led to me dismantling both of those projects, made me feel a little more reverent of my history and able to look back at it. I don’t want to see through rose-colored glasses, but with the combination of forgiveness, and joy and pride [for] what I created with my friends in those moments. Some of that is written into this record, this idea of looking backwards, not so much with a critical eye, but with joy and saying, ‘This is where it came from, and I’m proud of it.’ I can make my next step into the future and what comes after this moment feeling good about all of that. Certainly, the wave of nostalgia that started breaking at the tail end of the pandemic aligned pretty well with that vision of things.

Were you working on the memoir while you were writing some of the songs?

I wrote “New Year Song” in the midst of my deep dive into the memoir, but for the most part, the book was so consuming. I gave myself the permission to for this one rare moment…just focus on something other than music. Tying up some of those loose ends freed me up to write a different kind of song and approach my writing in a bit of a different way for this album. 

What was the reaction like to the memoir? 

I’ll be the first to admit, I’m not the one that goes seeking reviews. I’ve found over the years that it’s a recipe for insecurity and second-guessing. I wanted it to read well, and I feel like it did that, but it also helped me immensely in taking the next step forward into whatever the second half of my life is going to be.

For the second half, you’re going out on tour soon in promotion of the new album. We’ve seen the llama, we’ve seen the cape — what do you have planned for this one?

My good friends at The Windmill Factory — who have been my partners over the years on production and on making a lot of the music videos as well — pitched all of the wackiest ideas you see onstage, [including] riding around on a rubber duck, pulling gym class parachutes out over the crowd, having wacky waving inflatables onstage with me. I’m excited to say that we’re getting together for this next round of touring to try and concept out some updates to those gags and add some more. 

Do you ever get nervous that someone will drop you?

Absolutely. I am a big fan of the medium risk to high reward model. I’ve fallen off plenty of things at this point in my life that I’m pretty sure I’ll be OK. I’ve been launched off of the rubber duck on a couple of occasions, including the very first night of the Dashboard tour this summer. I brought out an inferior inflatable that was not quite as big as what I was used to. And it was super hard to ride. I ended up on the floor looking up at a crowd, and they were horrified. They didn’t know what to do. It’s made me a little more tentative about my llama ride.

[Photo by Connor Lenihan]

I saw you at Audacy Fest, and there was one moment where you were telling the crowd, “OK, get me back to the stage now.”

That’s where it’s most dicey. When it’s a concentration of people who know me, they can read me. Many of them have been in rooms with me for a long time. You get into the festival, and a lot of times the crowd takes on an energy where they’re like, ‘Let’s see how far we can get this guy.’ It adds an element of fun and a little bit of danger into a show that keeps me on my toes, and helps break down the fourth wall a little bit. 

Speaking of Dashboard shows, was that the first time that you’ve toured with Chris Carrabba?

We did a round of dates in Australia, where we were on the same festival together. This is the first proper, weeks-long tour where we were playing together every night. He’s such a wonderful man. He’s an incredible father and husband and a kind person and a super hard worker. I’ve always related to Chris and connected with him and looked up to him and been glad to call him a friend, but being together every day deepened a mutual affection.

Speaking of people you bring on tour, you’ve started bringing out Cecilia, and she’s singing on one of the songs on this record. What does she think of your music?

She’s a fan of her dad. She grew up on the tour bus. I’m sure that will change over time. I imagine I’ll become less and less cool with every passing day. Actually, I already am now that she’s 9, but she’s super into it and supportive and sweet. She hears the songs before almost anybody does. She comes in and I play her things, and I try to read her reaction. It’s kind of terrifying now because I do look to her to see if things are connecting. 

Her desire to get out and sing along onstage at first was nerve-wracking for me because these are crowds. You worry as a dad, but she’s so confident. The first time it happened, she ran on the stage, out of Kelly’s arms and grabbed a microphone and started singing. 

What does she listen to? 

Right now she’s on the new Miley Cyrus single. So I have to learn it so her and her friends can sing it at the talent show. That’s the next thing that I’m working on.

Are you accompanying them at the talent show?

I think so. We did “Rainbow” by Kacey Musgraves for her talent show a couple years ago, which was pretty cool.

Does she have musical ambitions?

She’s very into theater and singing, and she started piano lessons this year. My parents really did a great job with managing my ambitions, by getting out of the way but being there to support it when I asked for help. If she stays on this track, I could certainly see her pursuing something on a stage, but I’ll follow her lead on that.

Coming up, you’re reuniting with Something Corporate for When We Were Young, and you did a show with them in California. Can people expect a few more shows?

At the moment, there isn’t a plan for more. More so now than ever before, everybody’s open to it and has expressed a willingness if the situation is right. If we can all work out our schedules, we’re down to do it. Touring is a little trickier for us because everybody’s got real jobs and lives, and most people don’t want to take their couple weeks of vacation away from their families to go on tour with their band. I can respect that. 

We all are at the most reverent that we’ve been for our history and the most proud that we’ve been in. I could see it inspiring us to get out and at least get to the East Coast where we had our largest fanbase. If nothing else, try it over the course of a year or two — pop around and get some dates in that are meaningful for the fans that have been waiting for a long time.

Was that the first time you were fully reunited?

There was a Dear Jack Foundation benefit show where I did a set with the Wilderness, Jack’s Mannequin and Something Corporate and that was the first time that we had the full lineup on stage. We did a 10-year reunion without William [Tell, guitarist], with Bobby filling in. This felt like the first time in a lot of ways because the benefit was so stressful for me. I was so close to all of it. I had a hard time being as in the moment as I needed to be. 

[For the recent reunion], there wasn’t pressure on us selling tickets. We could fuck up the whole thing. And it’s still going to be sweet because we’re doing it as a gift. Everything flowed freely, and it was all smiles all the way across the stage. It motivated us to want to get back and do these festival shows.

With influences including Tom Petty and Billy Joel, McMahon has found a niche in alternative culture for his timeless songwriting and ability to reinvent his signature sound every few years. Many of McMahons’ fans have grown up with him and maintained their loyalty as he’s switched projects and genres; and he’s equally devoted, playing Instagram Lives regularly during lockdown and connecting with people through his nonprofit, the Dear Jack Foundation. Even when McMahon plays live, he often crowdsurfs on a pool toy, brings his daughter, Cecilia, out onstage and makes the piano look punk rock by jumping on it. 

Read more: 15 of Fall Out Boy’s heaviest songs of all time, ranked

While his songs started as odes to punk-rock princesses and reflections on waking up in your car, over time, he’s covered darker themes, including his cancer diagnosis and the difficulties of marriage. From the pop-punk masterpiece Leaving Through the Window to the poppier Everything in Transit, McMahon’s career has spanned over two decades.

Every Andrew McMahon album ranked

Fantasy

8. Andrew McMahon in the Wilderness – Upside Down Flowers (2017)

Upside Down Flowers is solid but not quite as enduring as prior records. On “Teenage Rockstars,” McMahon reflects on growing up — making all of his fans feel ancient (but nostalgic!) in the process. On “Ohio,” he sings about why his family relocated so much — something that he explains in greater detail in his 2021 memoir. While this isn’t as memorable as earlier albums, the lyrics are more vulnerable than past songs, especially once you know about his relationship with his family after reading Three Pianos. But unlike other records, you’re probably not going to be listening to this one on repeat. 

Sire

7. Jack’s Mannequin – People and Things (2011)

While there are some good tracks on the third and final album from Jack’s Mannequin (“My Racing Thoughts” and “Restless Dream” are both standouts), the rest mix together and sound like something you would hear while running errands and not feel the need to Shazam. Many of the tracks could have ended up on an Andrew McMahon in the Wilderness album. While his songwriting is as sharp as ever, it doesn’t stack up against his most memorable records. “It was the first time I had ever actually recorded a good amount of songs with the intention of putting them out and kind of scrapped it and started over,” McMahon told AltPress in 2011. 

Vanguard

6. Andrew McMahon in the Wilderness – Andrew McMahon in the Wilderness (2014)

This album introduced yet another side project for McMahon, although it has since become his main gig. “Cecilia and the Satellite,” an ode to his then-unborn — and now 9-year-old — daughter Cecilia became inescapable. McMahon once said it’s “deemed appropriate for grocery store shopping.” The musician’s songs were no longer pop punk- or Warped Tour-approved — this album shows the once-alternative pianist all grown up. These are songs that are fun for the whole family. And while it has some standouts — including “High Dive” and “Maps for the Getaway” — many of the songs blend together and wouldn’t sound out of place on an adult contemporary rock station.  

Vanguard

5. Andrew McMahon in the Wilderness – Zombies on Broadway (2017)

McMahon wrote much of this album while living in Williamsburg for the summer, and it fittingly sounds like what you’d listen to on summer vacation. Many of the tracks are high energy and poppy, like “Brooklyn, You’re Killing Me,” “So Close” and the bop-along “Fire Escape.” The New York recording sessions gave the Southern Californian a new location to opine on — although he did spend a chunk of the record thinking about what he’d left behind at home. It’s a good album to put on at the gym, and it’s always fun when he performs it live, often crowdsurfing on an inflatable llama to the bar during a bouncy, danceable song.

Sire

4. Jack’s Mannequin – The Glass Passenger (2008)

This album was far darker than anything that came before it. On “Caves,” McMahon explores his cancer treatment and subsequent depression, singing, “I'm caught/Somewhere in between/Alive/And living a dream/No peace/Just clicking machines.” “Caves” also deals with McMahon’s reentry into his old life. “I fought a war to walk a gang plank/Into a life I left behind,” he sings, which is an ongoing theme in his later albums. 

“Swim” sounds like a continued version of “Dark Blue.” It’s a look at isolation, and many of the lyrics hold true today, including, “Swim for the lost politicians/Who don't see their greed as a flaw.” Despite the heavier themes, there are upbeat, more playful songs like “The Resolution,” “American Love” and “What Gets You Off.” It’s an uneven album — there are some great pop songs and some intensely personal reflections, but McMahon can’t seem to decide if he wants to write a dark record about the hell he went through or an uplifting album about the life he’s returned to lead.

Drive-Thru

3. Something Corporate – North (2003)

More emo than pop punk, this album touches on deeper themes, and McMahon experiments with storytelling. On “Me and the Moon,” he imagines an unhappy housewife committing murder. On “Space,” McMahon asks his family to leave him alone. And on the pop-punkier “21 and Invincible,” he struggles to make an adult life for himself. McMahon did, in fact, marry his girlfriend, Kelly, and many of his songs are about her. Unlike Leaving Through the Window, many of these songs were not as high energy — they were darker, deeper and discussed the band’s struggle with coming home again after finding fame on the road. In turn, most of the lyrics were perfect for overly emotional AIM away messages.

Maverick

2. Jack’s Mannequin – Everything in Transit (2005)

Jack’s Mannequin’s first album marked a poppy departure from SoCo. What began as a side project ended up becoming McMahon breaking off from his high school pop-punk band and venturing out on his own. “Holiday From Real” sounds like a sunny day spent in Santa Monica, while “The Mixed Tape” is an ode to his now-wife. But it wasn’t all cheerful, despite the aesthetically pleasing album cover. On “Bruised,” the pianist reflects on pain, something he’d become well-acquainted with during his leukemia treatment that same year. On “Dark Blue,” a song about coping with the effects of loneliness and anxiety, McMahon identified what makes his music so relatable — he offers fans a respite through his lyrics and through his live shows. 

This album is some of his best work (fans on Reddit agree), with each song catchier than the last. It also gives fans a look at what’s to come in his career, as his recent single “Stars” sounds like “Dark Blue” all grown up. 

Drive-Thru

1. Something Corporate – Leaving Through the Window (2002)

This acclaimed pop-punk album introduced McMahon’s particular brand of vulnerable songwriting and piano playing to national audiences outside of Southern California. With the hyperspecific bully fighting tune “If You C Jordan,” the lonely “Cavanaugh Park” (which McMahon still adds to setlists) and Hot Topic favorite “Punk Rock Princess,” this major-label debut speaks perfectly to feeling out of place during suburban teenage years during the early aughts and evokes nostalgia. Even the album cover is memorable, which made it a MySpace and LiveJournal favorite.

But SoCo’s most famous song is not, in fact, on this album. “Konstantine,” which later became a rallying cry emo teens would scream at concerts in an effort to get him to sing the almost 10-minute tune, was on the Songs for Silent Movies, which was only released in Japan. Unlike today, you couldn’t just download the songs on Spotify — tracking down this album was a real feat. For elder millennials, hearing this Drive-Thru Records album (which took three months to record in California and Florida) will make you feel like you’re back in high school. It doesn’t matter if it’s 2023; you’re instantly transported to 2002 when “I Want to Save You” starts playing. 

Read more: Our favorite moments from When We Were Young Festival, the most emo event of the year

From Jimmy Eat World to Fall Out Boy, these are the 12 best alternative Christmas songs that you need to add to your playlist. 

blink-182 – “Boxing Day” 

blink-182 have always had a knack for writing hilarious holiday songs, but on their 2012 EP Dogs Eating Dogs, they penned one of their most heartfelt and touching songs with the Christmas-centric single “Boxing Day.” On the song, vocalist/guitarist Tom DeLonge and bassist/vocalist Mark Hoppus complement each other harmoniously while trading off lyrics that touch on themes of emptiness, heartbreak and the all-too-familiar feelings of holiday malaise. “Boxing Day” also shows a more stripped-down sound for the band who have made a career out of high-energy and upbeat music — this time choosing to flex their strengths in artistic restraint, minimalism and subtle poeticism.

Tim Timebomb and Friends – “You’re a Mean One Mr. Grinch” 

Tim Armstrong (Rancid) has one of the most distinct voices in punk, and his 2012 rendition of Dr. Seuss’ classic “You’re a Mean One Mr. Grinch” only further proves this point. Armstrong feels right at home singing the holiday classic and inserts a healthy dose of personality while retaining the classic elements of the source material. Featuring jazz guitar chords, horn sections and classical piano arrangements, Armstrong and co. provide a fun and jovial experience all the way through.

Senses Fail – “Donde Esta Santa Clause” 

When post-hardcore veterans Senses Fail emerged with their very own holiday music in late 2020, it was a welcome treat after a somber and devastating year. Out of the two stellar holiday singles they dropped, their rendition of Augie Rio’s 1958 classic “Donde Esta Santa Clause” is by far their most catchy and ambitious. Sung in both Spanish and English, vocalist Buddy Nielsen performs every line with intention over distorted power-pop guitars and driving drum rhythms that are sure to amp anyone up at your next holiday function. 

Weezer – “We Wish You A Merry Christmas” 

Throughout their 30-year career, Weezer have proved one thing: If they stay true to their core sound, nothing can go wrong. With their 2008 rendition of “We Wish You A Merry Christmas,” Weezer possess all of their most beloved traits, including lush vocal harmonies, chunky guitar tones and theatrical solos. Weezer take cover songs pretty seriously, and “We Wish You A Merry Christmas” is no exception. The song shows that anyone can capture the spirit of a classic while inserting a great deal of unique personality to make it entirely their own. 

Jimmy Eat World – “Last Christmas” 

Jimmy Eat World’s rendition of Wham!’s 1984 hit “Last Christmas” is simply perfection. Vocalist/guitarist Jim Adkins provides his signature evocative vocals over a chorus of sleigh bells, dance drum parts and abstract guitar crescendos to create an arrangement that breathes new life into an already beloved song. Jimmy Eat World have remained one of the most consistent in the alternative scene for nearly 30 years, and their cover of “Last Christmas” will certainly fill you with a healthy dose of Christmas spirit.

The Almost – “Little Drummer Boy” 

It’s only fitting that Aaron Gillespie, the powerhouse drummer of acclaimed post-hardcore act Underoath, would eventually cover every drummer’s favorite holiday anthem, “Little Drummer Boy.” However, for his cover of the classic holiday hit, Gillespie enlisted his alternative-rock side project the Almost to create an anthemic and chant-filled arrangement that shows off his impassioned vocals, which are sure to give you chills upon first listening. Make no mistake, though: Gillespie provides a series of drum rolls that retain the beloved rhythmic cadences of the original song we all know and love. 

Fall Out Boy – “Yule Shoot Your Eye Out” 

For those who aren’t necessarily feeling the holiday cheer this season, Fall Out Boy have you covered with “Yule Shoot Your Eye Out” — a breakup song that spares no expense in lamenting a relationship that has gone awry just in time for Christmas. Fall Out Boy have always had a penchant for unique song titles, and with this track, they reference an iconic scene from the 1983 beloved film A Christmas Story. They also make sure to insert a well-placed pun or two. “Yule Shoot Your Eye Out” shows a stripped-down acoustic sound that suits frontman Patrick Stump’s soulful vocals brilliantly, and with the incorporation of an impactful key change and charming sleigh bells, Fall Out Boy absolutely nailed this now-famous scene holiday classic.

Something Corporate – “Forget December” 

It’s said that the month of December is the most common time for couples to break up, and for Something Corporate frontman Andrew McMahon, he too was caught up in the heartbreak of the holiday season. “Forget December” chronicles a relationship that fell apart during the “most wonderful time of the year,” along with family drama and dreary weather, making this particular December a memory he’d rather not revisit. 

We Are The Union – “Yr Always Alone (On Christmas)”

We Are The Union are well aware that for some, the holidays aren’t always the most wonderful time of the year. With “Yr Always Alone (On Christmas),” the band have crafted the perfect anti-Christmas song that fuses everything from upbeat ska-punk in the vein of Sublime to the contagious power pop of Weezer. If family gatherings begin to feel like too much this season, simply throw on this track and raise a middle finger to the sky.

Sam Tinnesz – “Turn Off All The Christmas Songs”

Continuing the trend of anti-Christmas tracks is none other than “Turn Off All The Christmas Songs” by Sam Tinnesz, a witty love letter to the holiday but also a scathing critique of the overplayed holiday hits that are ingrained in the heads of many. With “Turn Off All The Christmas Songs,” Tinnesz shows his brilliance as a songwriter who can combine comedic and autobiographical lyrics that feel instantly relatable, coupled with earworm choruses. “Turn Off All The Christmas Songs” is sure to be your new favorite holiday track (unless your name is Michael Buble or Josh Groban), with Tinnesz demanding the two singers “go back to hibernation, right where [they] belong.”

Taking Back Sunday – “12 Days of Christmas” 

Admittedly, Taking Back Sunday’s rendition of “12 Days of Christmas” is a bit of a fever dream. However, that’s what makes it so special. Largely a duet between frontman Adam Lazzara and former co-vocalist/guitarist Fred Mascherino, the two spiral into a hilarious back-and-forth banter fest, dissecting every line from the classic holiday song while providing comedic commentary on everything from lactation and Danny Bonaduce from The Partridge Family. While the song ends up running for an impressive eight minutes, you can’t help but feel the holiday cheer and candid fun that was captured during its creation.

August Burns Red – “Carol of the Bells” 

We can all agree that “Carol of the Bells” is one the most unintentionally epic holiday songs ever. But when you pair it with technical metal, it takes on an entirely new form. In 2012, metalcore titans August Burns Red did just that with their instrumental, holiday-centric Sleddin’ Hill, A Holiday Album. Without a doubt, “Carol of the Bells” is the song where August Burns Red truly come into their own as a full-fledged heavy-metal holiday band, with shredding riffs courtesy of guitarists JB Brubaker and Brent Rambler as well as the inhuman and technical drum skills of Matt Greiner. 

PinkPantheress teams up with her idol KAYTRANADA on “Do you miss me?”

Not every artist gets to collaborate with their idol — let alone just a little over a year after their debut. But, clearly, viral-breakout, bedroom-pop singer PinkPantheress isn’t like most other artists. One of the 21-year-old’s major influences, experimentalist KAYTRANADA, co-produced her latest, “Do you miss me?” The result is every bit as effervescent as you can imagine. In her signature bubblegum voice, PinkPantheress pines over a relationship that was once built on infatuation and ended in heartbreak. Mirroring the dizziness of her feelings, the track bubbles with everything from synths to bells and woodblocks. A glistening little song, you’re sure to miss it when the brief two-minute runtime is through. —Sadie Bell

Fousheé and Lil Uzi Vert create a subtle rave with “spend the money”

Fousheé has created an irresistible anthem with her new single “spend the money.” Produced by Miguel Angeles, the dark dance track features the bold vocalist and Lil Uzi Vert exploring guarded love, feeling numb and, like the title suggests, indulgence. Fall in love with Fousheé’s ambitious debut album, softCORE, out now. —Neville Hardman

Weyes Blood creates soft, stunning chamber pop on “God Turn Me Into a Flower”

Just ahead of the release of her new album, And In The Darkness, Hearts Aglow (out now via Sub Pop), singer-songwriter Weyes Blood dropped the third and final single earlier this week. A sparse chamber-pop song, with support on keys from Daniel Lopatin of Oneohtrix Point Never, it’s simply stunning. On the ballad, Natalie Mering sings of wishing softness and vulnerability were more valued, or seen for all of their beauty — like that of a flower. Beneath her vocals, the track grows into an array of organic sound. She may be yearning to turn into a flower, but this song is a whole garden of emotion. —Sadie Bell

Andrew McMahon in the Wilderness’ “VHS” is a shiny synth-pop gem

Ever since his Something Corporate days, Andrew McMahon has become an expert at crafting bewitching melodies while continuing his own pop-punk legacy. On his latest single “VHS,” a meditation on the necessity of spontaneity, McMahon crafts a cinematic synth-pop sound that evokes the whimsicality of Maggie Rogers’ “Alaska” and furthers the exhilarating tone he’s channeled on recent singles “Stars” and “Skywriting.” —Ilana Kaplan

notfortheo’s “down” deals in heady introspection

notfortheo have a unique ability to make chill songs with hefty meanings. The lethargic sound that consumes “down,” off their debut EP half-life, belies its darker subject matter, which references drug comedowns and addiction. Once you understand the song’s gravity, suddenly everything feels more somber and poignant. The band say the track is “the sound of someone’s heart and mind slipping away from them, yet also accepting the miles ahead on the road to recovery to get things right again.” —Neville Hardman

44Blonde lives in the now with his new single “Like You Love Me”

44Blonde doesn’t have many singles to his name yet, but that’ll soon change. Championed by lil aaron, the alt-rock artist is on his way up. With his latest song “Like You Love Me,” 44Blonde determines that nothing lasts forever, so why not live in the moment? In the accompanying visual, images of weed smoke, late-night beach hangs and lazing around in the company of a loved one drive that sentiment home. —Neville Hardman

triton.’s “Orchids” is a testament to the power of musical freedom

On triton.’s latest single “Orchids,” singer-songwriter Scott Murphy has paired the post-punk and new-wave ethos of New Order and The Cure with a touch of ‘90s emo-revival (think Modern Baseball, the Front Bottoms). The result is a pulsating track that vibrates through its lively, meandering basslines courtesy of Tim Payne (Thursday, L.S. Dunes), as well as commanding drum patterns, ambient synth textures and warm vocals. “Orchids,” which was co-produced by Geoff Rickly (Thursday, No Devotion) captures the essence of experimentation and collaboration brilliantly. —Alessandro DeCaro

Grace McKagan pours empathy into garage-rock tribute “Jimmy (Lookin’ like Trash)”

On “Jimmy (Lookin’ Like Trash),” Grace McKagan delivers a commanding garage-rock tribute to New York punk icon Jimmy Webb, an ode to a rock ‘n’ roll soul that balances the retro tilt of Nancy Sinatra with the punch of The Kills. With her latest single, McKagan, who is the daughter of Guns N’ Roses bass player Duff McKagan, pairs vulnerable songwriting with her signature, syrupy lilt. —Ilana Kaplan

The track, titled “The Maze,” is an uplifting tune that features Andrew McMahon (Something Corporate, Jack’s Mannequin).

Read more: Tom Morello announces ‘The Atlas Underground Flood’ is due in 2021

“The Maze” is Morello’s fourth single to be released from his new album. Lyrically, it reflects a feeling of nostalgia for a lost time. The artist makes promises to a love who’s no longer in his life. In true Morello style, a guitar solo emerges to highlight the emotion-driven chorus.

Morello’s previous solo album, The Atlas Underground Fire, featured an array of different artists as well as a variety of musical genres. Continuing this trend, the musician’s second album release of the year will follow a similar path. The album will feature Kirk Hammet, Alex Lifeson and X Ambassadors, among many others. In a press release, Morello explains his the link between the two albums albums.

“The Atlas Underground Flood finishes what The Atlas Underground Fire started,” Morello says. “I sought to make a double album where artistic intent supersedes genre. I aimed to forge a central curated vision to tie together a sonically fearless, wild and wide-ranging musical ambition with a tremendous cast of collaborators. And of course, there are many guitar solos.”

Listen to “The Maze” along with the rest of The Atlas Underground Flood here!

The Atlas Underground Flood will be the third entry in Morello’s series of collaborative albums and is a follow-up to The Atlas Underground Fire, which was released in October 2021.

Alongside the announcement, Morello dropped the singles “Human” (feat Barns Courtney), “Hard Times” (feat. Nathaniel Rateliff, Jim Jones and Chipotle Joe) and “Raising Hell” (feat. Ben Harper).

Similar to the previous albums, The Atlas Underground Flood will feature multiple artists from various genres.

Read more: IDLES’ new album ‘Crawler’ will make you feel less alone—listen

The artists include San Holo, IDLES, Nathaniel Rateliff, X Ambassadors, Jim James, Andrew McMahon In The Wilderness, Barns Courtney, Manchester Orchestra, Ben Harper, Alex Lifeson and more.

The album drops Dec. 3 via Mom + Pop Music and is available for preorder.

The Atlas Underground Flood tracklist:

1. “A Radical in the Family” (feat. San Holo)
2. “Human” (feat. Barns Courtney)
3. “Hard Times” (feat. Nathaniel Rateliff, Jim Jones and Chipotle Joe)
4.” You’ll Get Yours” (feat. X Ambassadors)
5. “I Have Seen The Way” (feat. Alex Lifeson, Kirk Hammett and Dr. Fresch)
6. “The Lost Cause” (feat. Manchester Orchestra)
7. “The Maze” (feat. Andrew McMahon In The Wilderness)
8. “Ride At Daw” (feat. BreakCode)
9. “Raising Hell” (feat. Ben Harper)
10. “The Bachelor” (feat. IDLES)
11. “Parallels” (feat. Jim James)
12. “Warrior Spirit” (feat. Rodrigo y Gabriela)

From smash hits that still dominate alternative radio stations after 10-plus years to indie gems that started as best-kept secrets, we’ve compiled a list of piano-heavy songs that are sure to evoke some nostalgia—and maybe even draw a tear or two.

Read more: 10 alternative artists who embraced electronica for a whole new sound

Secondhand Serenade – “Fall For You”

If your iPod Nano was loaded with sad songs, we’re willing to bet that Secondhand Serenade’s “Fall For You” was one of them. Thirteen years later, it’s still impossible to resist belting out John Vesely’s heartfelt lyrics about the girl who’s impossible to find. We haven’t yet given up hope of seeing a new album from the band sometime in the near future.

Augustana – “Boston”

Augustana’s “Boston” was the ultimate song where you leaned your head against a car window and pretended you were in a music video. It was also the perfect track for anyone in need of a fresh start. Despite being a simplistic ballad, it made you want to set off on an adventure, especially as it built up toward the end. Vocalist and pianist Dan Layus is now continuing the band as the sole remaining member, and we’re hopeful that there might be another song as iconic as this one on the horizon.  

The All-American Rejects – “It Ends Tonight”

Early 2000s rock chart-toppers the All-American Rejects could not have picked a better way to kick off this beautifully simple ballad than with piano chords. They created an opportunity for frontman Tyson Ritter’s vocals to really take full effect in the chilling first verse and made the eventual drum beat drop feel so much more epic. You can practically feel darkness turning to light.

Evanescence – “My Immortal”

If you don’t instantly become the kid in the “turn up the volume” meme every time you hear this song, you’re lying. Out of all the hauntingly beautiful ballads Evanescence have put out over the years, “My Immortal” is definitely one of the most sing-along-able, whether or not you have pipes like Amy Lee’s. Go ahead, get swept up in the emotion. We won’t judge.

Hey Monday – “Candles”

Hey Monday’s iconic 2008 debut album, Hold On Tight, was full of emotive tracks, but the soulful “Candles” especially stood out. It just has this way of making you feel as if you really are in a dark room, lit only by candles. Cassadee Pope’s vulnerable vocals over the piano still give us the chills to this day. 

Automatic Loveletter – “Hush”

Like fellow pop-rock-frontwoman-turned-The-Voice–sensation Pope, Juliet Simms quickly became known and loved for her unique vocal style when her band Automatic Loveletter emerged onto the scene. In this soft, slow breakup song, she displays the perfect balance between the pristine pop and the ragged-raspy sides of her voice. “Hush” remains a favorite among fans who’ve been following Simms’ musical journey from the beginning.

Mayday Parade – “Terrible Things”

Just when we thought Mayday Parade couldn’t possibly write anything sadder than “Miserable At Best,” they released their 2011 EP, Valdosta, which featured their ultimate tearjerker, “Terrible Things.” The song finds Mayday in their most musically stripped-down state; a good chunk of it is simply minimalistic piano and vocals, with frontman Derek Sanders telling a tragic story in a way only he can.

Avril Lavigne – “When You’re Gone”

For many, dark eyeshadow-rocking, pink hair streak-sporting singer-songwriter Avril Lavigne was a gateway into the world of pop punk. But even in her heaviest musical era, she was still gracing the scene with power ballads such as “When You’re Gone.” It was the love song we didn’t know we needed amid the fast, loud, guitar-centered anthems that were blowing up the charts at the time. 

Something Corporate – “Konstantine”

Before Andrew McMahon’s wildly successful solo project, Andrew McMahon In The Wilderness, there was Jack’s Mannequin. Even before that, there was Something Corporate, the band with which he’s most closely associated by OG emo kids. McMahon has carried his heart-on-sleeve songwriting style and amazing piano skills through every stage of his career, and this was where it all began. Throughout its nine-and-a-half-minute time span, the beloved track “Konstantine” creates a whole world for listeners to dive into, telling the story of a strained relationship in vivid detail.

The Smashing Pumpkins – “Disarm”

The beautifully layered instrumentals, grunge-y vocals and powerful lyrics in this Smashing Pumpkins ballad make it a true ’90s classic. Sure, it might be just as driven by acoustic guitars as it is by the keys, but it certainly wouldn’t carry the same level of emotion without them. The song played a huge role in the massive mainstream success of the band’s 1993 album, Siamese Dream, and will likely always be a staple of their live performances.

It’s not particularly surprising that there are some discrepancies between an album’s generalized reception and its certification standing. After all, the criteria for the Recording Industry Association Of America (RIAA) certifications are based on sales. While streams now factor into the equation, a record must accrue 500,000 sales (or 750,000,000 cumulative plays) to be designated gold.

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Needless to say, RIAA gold certification is a significant milestone. Unfortunately, many releases that came at the turn of the streaming era fell through the cracks. They came at a time when direct album sales were dropping, but by the time streaming services took over, they were years past their prime. That said, they’re still totally deserving of the recognition.

Here are 10 albums that should be certified RIAA gold already.

Battle Born – The Killers

Once the Killers hit platinum status with Hot Fuss and Sam’s Town in 2005 and 2006, respectively, we didn’t expect the certifications to stop coming. While Day & Age achieved gold status in 2009, no following album has hit such a milestone. This is particularly surprising for a record such as 2012’s Battle Born, which boasts notable hits such as “Runaways” and “Miss Atomic Bomb.”

Hold On Tight – Hey Monday

This realization actually made our jaws drop. Hey Monday were such a prominent force in the late-2000s Warped Tour scene. We just assumed that they would achieve RIAA gold certification alongside the likes of Boys Like Girls and Mayday Parade. As it stands, though, the band haven’t received that honor. Their first and only full-length, Hold On Tight, certainly deserved better.

I’m Like A Virgin Losing A Child – Manchester Orchestra

Even in a scene characterized by heart-wrenching lyrics and melodic instrumentals, Manchester Orchestra managed to hit us in the feels time and time again. So, the fact that they don’t have any RIAA certifications to their name makes us want to cry for a totally different reason. Guess it’s time to go stream I’m Like A Virgin Losing A Child a hundred times… As if that wasn’t already on our agenda.

Read more: 10 bands from the late 2000s who broke up way too soon

Picture Perfect – Every Avenue

Did you even go through a scene phase circa 2009 if Every Avenue‘s “Tell Me I’m A Wreck” wasn’t one of your top-played tracks? We would have argued that Shh. Just Go With It was worthy enough of gold status, but their refined sophomore album, Picture Perfect? That seemed like a slam dunk. Just another reason that we feel they broke up way too soon. Had they kept it up, they surely would’ve reached an All Time Low level of mainstream success, right?

Whisper War – The Cab

The Cab were a 2000s iPod staple (thanks in part to Pete Wentz). Seriously, we can’t imagine there was a teen at the time who wasn’t downloading their tracks. So how in the hell did their debut album, Whisper War, never hit the threshold for RIAA gold certification? Scene icons Brendon Urie and Patrick Stump even contributed guest vocals to the opening track, “One Of THOSE Nights.”

Light Me Up – The Pretty Reckless

It was a big deal in the scene when actor Taylor Momsen debuted her alternative-rock band the Pretty Reckless via Interscope Records in 2010. We had a born star in our midst. Never did we suspect that she’d only receive her first RIAA gold certification eight years later. While the 2013 track “Heaven Knows” has since gone platinum, we’re still waiting for their debut album, Light Me Up, to earn a designation.

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The Papercut Chronicles II – Gym Class Heroes

Gym Class Heroes defied genre boundaries and found significant mainstream success in doing so. Despite their widespread recognition, though, only one of their albums has been RIAA certified gold. 2006’s As Cruel As School Children made the milestone in 2007, just a year after its release. We thought that The Papercut Chronicles II would have followed suit by now, seeing as it boasts significant hits such as “Stereo Hearts” and “Ass Back Home“—both of which are already sitting at platinum status. Seems like singles win out nowadays…

A Twist In My Story – Secondhand Serenade

Nobody was even remotely surprised when Secondhand Serenade‘s “Fall For You” earned platinum status the same year that it dropped. After all, it became an instant 2000s emo staple. What’s shocking, though, is that we’re still waiting on the album it came from, A Twist In My Story, to be certified gold. Not even another track has made the cut. It’s not like the record was lacking in any way. Songs such as “Maybe” and “Stay Close, Don’t Go” hit just as hard as their ever-popular tracklist neighbor.

Leaving Through The Window – Something Corporate

There’s no way that Something Corporate don’t have any certified gold albums or tracks. That has to be some kind of glitch in the matrix, right? It’s not like Leaving Through The Window wasn’t part of every scene kid’s rotation. “I Want To Save You” and “Punk Rock Princess” are more or less embedded in our DNA now. We’re glad that Andrew McMahon has at least received the designations under his other outfits, Jack’s Mannequin and Andrew McMahon In The Wilderness, but still…

Read more: 10 pop-punk bands from Canada who are leaving a mark on the genre

¡Viva la Cobra! – Cobra Starship

Given that every Myspace profile was blasting “The City Is At War” circa 2007, we expected more for Cobra Starship‘s ¡Viva La Cobra!. In fact, not a single track from the record has received the designation. That’s a pretty significant snub for one of the best albums to come out of the scene—let alone one that features vocals by alternative icons Gabe Saporta, Travie McCoy and Patrick Stump.

Which albums were you most surprised to realize had never been RIAA certified gold? Let us know in the comments below!

These splits may hurt longtime fans, but it’s usually for the best. Everyone deserves a chance to explore their interests and what feels right in and out of the music industry.

Read more: Here are 10 of the most unexpected collabs to come from 2020

Plus, if these band members didn’t leave their original groups, we may never have amazing songs from them, such as in the case of Dallon Weekes finding his own sound and Little Hurt going solo from the Mowgli’s. All these changes are necessary, healthy and oftentimes result in a new band to obsess over.

Here are 10 musicians who left their first band to start a new one and did it splendidly.

Little Hurt

If this voice sounds familiar, you may recognize Little Hurt, aka the solo project of Colin Dieden, from his time fronting the Mowgli’s. He departed from the sunny pop band to pursue his own unique sound and tell his own story in the form of a new project. Dieden still captures upbeat and optimistic themes in his songs such as “Alaska” and “It’s Ok Not To Be Ok.” If you need a little pick-me-up, this is exactly the artist you need to hear ASAP. Check out his most recent EP, Every Second, just released at the end of January.

Ryan Ross and Jon Walker

With creative differences getting in the way, Ryan Ross decided to leave Panic! At The Disco along with fellow member Jon Walker in 2009. The two teamed up with drummer Nick Murray, keyboardist Nick White and bassist Andy Soukal to form the Young Veins. The vintage-sounding surf-rock outfit lasted a little over a year until they announced their hiatus in late 2010. They shared such hits as “Change” and “Defiance” from their one and only record, Take A Vacation! The band re-released a deluxe version of the LP in 2019 with 16 songs in total. Though their discography is short, Ross and Walker proved they were capable of making their own outfit with classic-rock vibes.

John Nolan and Shaun Cooper

John Nolan, guitarist and backing vocalist for Taking Back Sunday, left the band in 2003 along with bassist Shaun Cooper to form Straylight Run. The duo teamed up with Nolan’s sister Michelle DaRosa and Will Noon to craft two studio albums and a handful of EPs, with their most popular track being “Existentialism On Prom Night” from their self-titled LP. In 2010, Straylight Run went on hiatus, and Cooper and Nolan returned to their roots and rejoined TBS.

Caleb Shomo

Caleb Shomo began his career in Midwestern metalcore outfit Attack Attack! But he left the band in 2012, citing mental health issues. However, he was working on Beartooth tracks even before his departure and decided to commit full time. Beartooth are heralded as one of the best acts in both hard and emo rock, with three studio albums out in the world. Shomo also dabbles in electronic music under the moniker CLASS.

Dallon Weekes

Dallon Weekes began his music journey in the Brobecks, with their beloved album Violent Things featuring songs such as “Small Cuts” and “Better Than Me.” This band featuring Ryan Seaman actually played on the same bill as Fall Out Boy, Phantom Planet and more. Next, Weekes joined Panic! At The Disco in 2009, first as a touring bassist, then as the band’s official bass player. In late 2017, though, he announced that he was leaving Panic! and dove headfirst into I DONT KNOW HOW BUT THEY FOUND ME. He was joined by Seaman, which resulted in a full-circle music moment. The two have gained a large following for their dark electro-pop hits such as “Choke,” “Leave Me Alone” and much more.

Kyle Hulett

That’s Outrageous! ruled the post-hardcore world after signing to Rise Records in 2011 and sharing such hits as “Teenage Scream” and “#Winning.” Prior to the band breaking up in 2013, bassist Kyle Hulett did depart early to pursue his short-lived electro-pop project WLDCHLD.

Tyler Posey

Many know Tyler Posey from his role on Teen Wolf, but the actor also has deep roots in the pop-punk and alternative scene. He started his music career in L.A. with Lost In Kostko (later renamed Disappearing Jamie), though the band broke up in 2013. Posey then hopped into pop-punk act PVMNTS but ultimately left in 2019 to pursue his work with Five North. 

Tom DeLonge

Though Tom DeLonge parted ways with blink-182 for a myriad of reasons, one of them was that he wanted to pursue other avenues of entrepreneurship and creativity. One of the things he pursued musically was Angels & Airwaves, who have put out five studio albums since their inception in 2005.

Andrew McMahon

Andrew McMahon is a talent beyond words and a musical force beyond measure. When Something Corporate were too exhausted from touring, he formed Jack’s Mannequin, which blasted to the forefront of our playlists with hits such as “Holiday From Real” and “Dark Blue.” Though he never officially left Something Corporate, his new project took priority, and Something Corporate have been on a hiatus. Many of the songs he wrote on his own didn’t fit the “I Woke Up In A Car” style of punk. McMahon has since put out solo music under Andrew McMahon In The Wilderness.

Daniel Davison

Daniel Davison has been in several acts, from Underoath to Every Time I Die. In fact, he played with Norma Jean as their drummer for 10 years but left to pursue other musical endeavors. This led to him joining the indie band Colour Revolt a few years later. His last major project was performing on ETID’s Low Teens.