"The record is really more about how the great attraction to inappropriately shared intimacies, carefully constructed personas, and the loss of a sense of self can affect an entire world," Havok explains."As well as how this loss of self is sought after rather than resisted...After going black on their social media channels, the influential alt rock / punk act has revealed the title of their 10th studio effort, and the new album will be their first on Concord Records.“White Offerings” (heard below), comes in at under three minutes and is one of the most instantly catchy songs the band has ever penned.The lyrics of some songs trace an arc from adoration to the desire to tear down the object of affection.
As for “Snow Cats,” it dials back the intensity, aiming for a distinctively lighter mood over the verse and boasts a fuzz-drenched, despondent chorus.
"Crash Love is certainly not a concept album or rock opera by any stretch, but the songs are generally connected by a greater theme...
The album title itself can be construed as a command, as a destructive kind of love, or as a desire for a relationship that's heading inevitably toward disaster or flameout.
“Emo” is a word that simultaneously means everything and nothing, and as a musical genre, it’s even more confusing. But as bands like Jawbreaker and Sunny Day Real Estate began to emerge in the late ’80s and early ’90s, the term also began permeating the pop-punk and indie rock scenes, too.
Originally used to describe a sect of ’80s punk bands who played “emotional” hardcore (or “emocore” if you want to break the seal on throwing around suffixes), it can be confidently applied to Fugazi-related Washington, D. But modern emo — the emo known to a generation of faithful Hot Topic shoppers — saturated the mainstream in the early 2000s and basically tied together a disparate range of genres that had more to do with being aesthetically, not musically, similar.
Over the course of 20 years, the band has ridden the transition from hardcore punk to goth rock to emo—always with a bit of industrial rock and a healthy dose of The Cure’s Pornography—buoyed by the seemingly boundless stage charisma of frontman Davey Havok.