Ten years on from the release of their career-defining record Nothing Personal, All Time Low are getting lost in stereo all over again by re-recording the album’s 12 songs for a very special anniversary edition…

author: Jake Richardson

Pop-punk heavyweights All Time Low have announced they’ll be celebrating the 10-year anniversary of their much-loved album Nothing Personal with the release of a brand new re-recording of the record. It’s Still Nothing Personal: A Ten Year Tribute will be released on November 8, featuring a new version of every song on their classic 2009 LP.

Alongside the music, the band have produced a documentary that charts the entire recording process and features in-depth interviews with all four band members, as well as input from the producers that worked on Nothing Personal. In addition, the Maryland natives have announced a set of anthology shows to commemorate the occasion, with concerts in Los Angeles, Chicago and New Jersey taking place across eight dates in December.

Nothing Personal was the band’s third album, and helped launch them on a career trajectory that’s seen them grow into a giant of contemporary rock. In the decade since its release the band have headlined festivals, played arenas around the world, and even topped the UK album charts in 2015 with their sixth LP, Future Hearts.

It was the infectious songs from Nothing Personal like Weightless and Lost In Stereo that set All Time Low on that path to stardom, though. Here, frontman Alex Gaskarth fills Kerrang! in on the anniversary celebrations, teasing what fans can expect from the new release, and reflects on the legacy of an album that changed their lives…

Have you been plotting this anniversary release of Nothing Personal for a long time, Alex?
“Yeah – we’ve always known we wanted to do something special to celebrate this album, and make it something that went beyond anthology shows. We did 10-year anniversary concerts for [2007 album] So Wrong, It’s Right, so we wanted to go a step further for Nothing Personal. In the end, we came up with the idea of doing a documentary, so we sat down and spoke about the album in great depth, and got the producers of the record involved, too. It was fun diving back into the Nothing Personal world and taking a walk down memory lane.”

Did it feel strange for you to be subjects of a documentary?
“No, because we all love talking about ourselves! (Laughs) It was a bit surreal, sure, but we’re not doing this for us. As cheesy as it may sound, we’ve done this as a thank you to all the people who have supported us over the past 10 years. Above all else, this is for the fans.”

What was it like having a camera crew film you while you recorded?
“It was very odd to have those cameras in our faces! It takes you out of the moment because you’re trying not to break the fourth wall, and it kind of feels like being in a zoo, only it’s one where thousands of people are going to watch you from the comfort of their homes! We tried our absolute best to not let it affect us, but it’s a vulnerable situation to be in when you’re trying to play every note perfectly. We’ve been filmed playing before, so it wasn’t quite a baptism of fire, but it was definitely a different experience for us. I’m glad we did it, though – it was super fun to be back at Red Bull Studios, which is where we originally recorded the bulk of Nothing Personal. It was nice to revisit those memories.”

Did you alter or reimagine any of the Nothing Personal songs while you were in the studio?
“We talked a lot about whether we should totally rearrange the songs and approach them from a fresh angle, but we’re quite precious about those tracks, and we know we’re only going to be doing a handful of Nothing Personal shows in a select few places, so we decided it’d be best to recreate that live experience as authentically as possible for those who can’t be there. Consequently, we stayed pretty true to the original versions when we were in the studio, but we did change a few parts along the way and make some improvements. I didn’t go in and rewrite the lyrics to Therapy or anything like that, though!”

Which was your favourite song to revisit?
“I really liked doing Walls – it stood out to me as one that was really fun to sing, and it’s got a cool energy to it. There’s plenty of emotion in that song, and the chorus really allows you to belt some notes. I’m eager to play that one live – I think it’ll provoke one hell of a sing-along.”

As well as the special edition of the album, you’ve announced some Nothing Personal shows for December in the U.S. What’s the plan for those?
“We’ll be playing Nothing Personal front-to-back, which will be cool because there are some songs on that record that we’ve never played live, like Walls. It’ll be interesting to see the audience’s reaction to hearing those songs live for the first time. The shows will be great moments to share with our fans, and we’ll be playing a full set alongside the anniversary material. The ferocity with which people attacked these tickets the minute they went on sale was mind-blowing to us – I believe the shows were sold out within hours – so if that’s any indication of the fanbase’s excitement, I’m pretty sure these gigs are going to be insane.”

Which of the Nothing Personal songs that you’ve not played live a lot previously are you looking forward to performing?
“I’ve always loved Sick Little Games. We played it for a tour or two a few years ago, but then it fell back into the shadows. I really like anything that I got to work with Butch Walker on – he recorded Damned If I Do Ya (Damned If I Don’t) with us as well, but that’s been a set staple of ours since it came out. Rocking Sick Little Games is something I’m excited about.”

Has it been a challenge to relearn some of these older songs?
“We’ve had to work at it, yeah, but it’s been a cool process. It’s crazy how that muscle memory can still be there a decade on – some of these songs exist within us like we wrote them yesterday. It was kind of spooky being able to pick some of them up again so easily.”

Ten years on, which song from Nothing Personal stands out as the best, in your humble opinion?
“Weightless, hands down. Calling it ‘timeless’ might be a stretch, but it’s a song that’s totally synonymous with our band, in the same way that Dear Maria, Count Me In is. Weightless has really stood the test of time, and it speaks to what All Time Low has always been about; it’s a banging rock song, and that’s what we love writing. It’s a career-defining track for us.”

How far did the initial success of Nothing Personal surpass your expectations at the time?
“Thinking back, we were insanely excited during that period. Coming off the back of So Wrong, It’s Right, it felt like things were growing for the band and like we were connecting with more people. We were champing at the bit to keep going, despite there being more pressure around us and the term ‘sophomore slump’ being thrown around somewhat. Not delivering was something we were fearful of, but we wanted to put a new spin on All Time Low and really push the envelope and show what we could do. We were young and not that self-aware, and all we wanted was to make music. We were very driven in that regard. Writing a record and getting out on tour was the aim for us, but the way things snowballed totally blew us away.

You worked with several different producers on Nothing Personal, something that not many rock bands were doing at the time. Looking back, what was that process like, and what kind of impact did it have on the
finished product?
“It’s interesting, because that was never really the plan – the intention was to just work with one producer. But then we hit our stride in terms of writing and it became apparent to us that different producers could bring different things to the table. In the end we thought, ‘Let’s just go for it and do things the way they do in the worlds of pop and hip-hop.’ There weren’t a whole lot of bands allocating work like that at the time. The Matches were one band that were working that way – that’s how they made [2006 album] Decomposer – but they were one of our few contemporaries that were willing to do that. We took inspiration from those guys, and it meant we ended up with a record that had ideas from a variety of different musical worlds. To be honest, listening back to Nothing Personal, I do feel like it lacks a little focus at times and feels a bit all over the place, but that speaks to where we were as artists back then. That album was us figuring out what All Time Low was, what we should sound like, and how to not just write fast, four-chord rock songs. Nothing Personal was us branching out and doing different things for the first time, like adding electronic beats, programming and a ballad – all elements that had previously been missing from our music. The whole process really allowed us to explore our sound.”

Finally, how important do you feel the release of Nothing Personal has been to All Time Low’s success, and what legacy do you believe it’s left?
“Nothing Personal really solidified us as a band and ensured we could have a career. It took us from being a ‘buzz’ act in the Warped Tour scene with a bit of hype behind us, and turned us into a breakout band that was able to tour the world. The release of that album led to multiple festival offers and the prospect that we might some day play arenas. Before then, that kind of stuff was merely a pipe dream for us. Nothing Personal really set us up for where we are now. On So Wrong, It’s Right, we were still trying to find our feet as a band and establish who we were, whereas with Nothing Personal, we burst out of the gates and into a full sprint, and we never looked back.”

It’s Still Nothing Personal: A Ten Year Tribute is set for release on November 8 via Fueled By Ramen.

source: https://www.kerrang.com/features/alex-gaskarth-reflects-on-the-legacy-of-all-time-lows-nothing-personal/

They’re headlining Slam Dunk before heading away to work on something new; we caught up with All Time Low’s Alex Gaskarth to get the low-down.

author: Ali Shutler

All Time Low are planning on having a pretty quiet year as they regroup following the release of latest album ‘Last Young Renegade’: but they’re not disappearing completely. The Baltimore band are coming out of the woodwork for a bill-topping set at Slam Dunk (25th-26th May), and, according to frontman Alex Gaskarth, they can’t wait.

Hey Alex Gaskarth. Last year was super busy for All Time Low, right?

The last two years have been pretty crazy and pretty fun. We’ve been slammed. The ‘Last Young Renegade’ cycle was a good one. We went pretty deep. We circled the world twice. It was good to get it all in.

So what’s 2019 got in store for you?
We don’t have a whole lot of plans. Obviously, we’re coming over for Slam Dunk, but that’s the only thing we’ve got on the calendar right now which is definitely weird for us.

Is that break to work on new music?
The starting point is just to step away. There’s always new music in mind. We’re always asking ‘what’s the next thing going to be?’, but as of right now, there’s nothing official. We just want to take a step back, reflect, look at what we’ve accomplished and basically take stock in what we’ve got and figure out where we go from here. ‘What’s the logical next step for All Time Low?’ and to do that, we need to step away from it.

So you never feel like you have to take a break because it’s getting too much?
Honestly, no. We had a really rad record cycle, and we’re gluttons for punishment. We love being on the road. I hear all kinds of stories from other bands about how they get tired or burnt out, but we love being out there. We love playing shows, whether they’re massive shows or club shows or festivals. We just like getting in front of people. It never felt like it was taking a toll. It is super nice to get home and have a minute to yourself, but we’ve never felt like we need to call time on it. It’s more a well-earned break, at this point.

So, Slam Dunk.
It’s going to be a blast. Last time we did it was 2013. It’s exciting to come back and do it again, especially headlining. There’s such a good lineup, and it’s a really cool, straight-up punk rock show, which I think is the best thing. We do lots of festivals, and they run the gambit from being very eclectic to this one, being much more in the wheelhouse of the world we came up in. That’ll be a really fun way to come back to the UK. Last time we were there, we were headlining arenas, and it was very much our own thing.

It feels like a lot has changed for the band since you last played.
Playing Slam Dunk in 2013 was a big step up for us. It let us spread our wings, especially in the UK. Since then we’ve put out, two or three more albums. We’ve been around the world a thousand more times and had a lot more experience under our belts at this point. It’s a much more realised version of All Time Low coming back now, to what we were doing back then. We were still finding our way back then. It’s always been this slow growth for us. Now we’re coming back as a much more realised version of ourselves.

You’ve gone from being a big band, to being one of the biggest.
We’ve been very fortunate to continue to grow and be able to pull off what we have done. It’s incredible to me that people are still finding out about us and still spreading the word. At the same time, we’ve always stayed true to All Time Low. From record to record, we’ve done enough to grow, change our style a little bit, make tweaks and make adjustments and do things that keep the project exciting for people, even though we’re many years into a career now, but it’s never gone so far off the rails that we’ve lost everybody. We’ve been really lucky to find that perfect balance and find that really cool niche in music where people still feel connected after all these years. That’s what allows us to come back time and time again, and put on bigger and better shows. It’s all about picking how you come back. And coming back and doing Slam Dunk felt like exactly the right thing to do. Coming and doing a punk rock festival is going to be really fucking fun. I’m looking forward to it.

You released the singles ‘Everything Is Fine’ and ‘Birthday’ last year, which sorta show the two sides of All Time Low. There’s this boyish sense of humour, but also this vulnerability.
I think that’s always been the dynamic of All Time Low. Looking back, some people see it; some people don’t. Some people take one thing away; others take another. That’s part of what’s kept All Time Low interesting for people. It’s a layered experience. There are songs that are straight up, face-value fun but there are dimensions to it. We’ve always tried to have some depth and vulnerability in even our most brash, abrasive, lyrics. It’s served us well. I don’t know if we necessarily set out to do this, but ‘Everything is Fine’ and ‘Birthday’ do have both sides of that coin, which made for a fun mid-cycle release.

Is it tough to balance the silly with the serious, without diluting them?
We’ve always toed the line. It’s tricky though, every now or then, I’ll get in a mindset where I’ll want to make serious music, so we’ll do that, and it alienates half our fanbase. Then we respond to that by making something that’s way more tongue in cheek, and a little bit looser, and we alienate the other half. It’s this dynamic that we’ve had to learn how to navigate. You have to find the sweet spot. Sometimes it happens, sometimes it doesn’t. That’s the magic of music. You’ve got to have the energy and let it speak for itself, and the other things will fall into place. At the end of the day, what it has always come down to is that as long as we’re having fun doing it, and as long as it feels good to us, then it’s always worked out. It’s a learning experience, and you feel that out as you go.

Live, it feels like, over the past few years, there’s been less emphasis on dick jokes and being funny, and more emphasis on everyone having fun.
We’ve changed. We’re thirty. When we were acting that way, making those jokes, we were kids. We didn’t know better, and it was par for the course, but we’re different people now. That shit is still funny as hell to me, we’re six-year-olds at heart, all four of us and I don’t think that’s ever going to go away, but part of it is that we’re changing with the times. We’re trying to create a safe, inviting environment for everyone. In the past, some of that stuff has contributed to some people feeling uncomfortable, and that’s the last thing we want to do. All of it, at least in the context of this band, was done with the best intentions at heart. We were never out to bum anyone out, so it’s something that we’ve looked at and re-evaluated. The biggest thing was focusing on putting on a sick, energetic show and adapting the songs to fit live and feel great. The banter has always been secondary, but now, it’s done with a little more care. It’s really important that we go out and make sure everyone in the room is feeling fucking awesome, because
That’s all that matters when it comes to going to shows. You’re going to listen to music, feel great and connect with people.

Taken from the June issue of Upset. All Time Low plays this year’s Slam Dunk, which takes place in Leeds (25th May) and Hatfield (26th).

source: https://www.upsetmagazine.com/features/all-time-low-interview-jun19

Frontman Alex Gaskarth details the pop-punks’ plans for a more relaxed 12 months.

author: Kerrang!

 All Time Low  have had a whirlwind couple of years since the release of 2017’s Last Young Renegade album, and in 2019 they’ll finally be putting their feet up for a little while.

Aside from headlining  Slam Dunk Festival  in the UK this coming May, the Baltimore pop-punks have absolutely nothing else on their collective calendar – and frontman Alex Gaskarth is seemingly pretty relieved at the prospect.

“We’re taking a bit of a break,”  he tells Kerrang!  of the band’s plans for the year. “For the last couple of records, we’ve done two-year-long cycles. With Last Young Renegade, it was winding down in the first half of 2018, but then we decided to put out [non-album singles]  Birthday  and  Everything Is Fine , which revitalised that campaign and led to more dates on the calendar. That meant another six months was tacked on to what had already been a full album cycle. For us, it feels too soon to be properly thinking about the next record – I need to sleep for at least a fortnight straight! We need to figure out what’s next and what All Time Low should be doing going forward.”

But fear not: while the guys are still mapping out their next steps, Alex is still very much open to other projects away from All Time Low.

“I definitely won’t be stepping back from music, that’s for sure,” he enthuses. “I’m looking to do more outside writing for other bands. I’ve been passionate about that for years now, but with All Time Low being what it is, it’s hard to find the time I need to dedicate to it. I’ll be making myself available in 2019 to anyone who wants to write with me, so people should definitely keep an eye out for what I’m up to. There’ll be stuff going on.”


Catch All Time Low headlining Slam Dunk at the following:


25 Leeds Temple Newsam Park – Slam Dunk North
26 Hatfield Park – Slam Dunk South

Grab your tickets and see more info at  Slamdunkfestival.com

author Debra Kate Schafer

I recently had the utmost pleasure of interviewing one of the sweetest people in the music industry and I couldn’t be happier about it. Alex Gaskarth of All Time Low has always been kind and open with his fans; not to mention his always fun, positive approach to the music he and his friends make. It wasn’t until I picked up the phone and interviewed him for this piece that I got to experience that kindest and honesty firsthand. All Time Low is an Aquarian Weekly sweetheart, a personal favorite of mine, and a legendary pop punk band with a fierce fanbase.

  Their up-tempo songs, slick melodies, and clever lyrics are just some of reasons why their music has, in the words of Gaskarth, “stood the test of time.” You can’t go wrong with good music — and when good people are the ones behind it, it’s pretty much impossible to break down — hence why they sell out tours year after year…like they are doing right now with co-headliner Dashboard Confessional.

This summer you guys are touring with Dashboard Confessional. This headline tour is a huge deal for us pop punk nerds, let me tell you. How did the tour come about?

  The tour came about actually when we were both working on our albums respectively. We were in the studio kind of putting the finishing touches on Last Young Renegade, which is the album we put out about a year ago, and they were simultaneously working on a new record for Dashboard after I think like a seven year break. So I had heard about it because they had signed with our label, Fueled By Ramen, obviously, so it was kind of exciting that we were becoming label mates. They were doing a bunch of the album with our producer Colin Brittain at the time, so it was just kind of a lot of roads that crossed simultaneously.

  That was sort of the moment that we conceptualized this tour. We realized that it had a really great throwback vibe since both of our bands were sort of active in the 2000s. We were just getting started then and even grew up on Dashboard. They were a band that we really looked up to in that world and seeing that they were getting back together was kind of an exciting thing, so we just decided to meld our worlds together.

It seems like fate!

  Yeah, it totally was!

This tour is different compared to last year, because you toured with some more up and coming bands like SWMRS and Waterparks. Did you see a lot of yourselves in these bands?

  You know it is really cool and really fun touring with those younger bands and kind of getting to see where their heads are at, coming in with a fresh perspective. They are still kind of learning the ropes. SWMRS had been touring a lot since they were really young, but Waterparks were still kind of getting their sea legs when we first met and toured with them. It is really cool to see these bands and these kinds of bands evolving and growing and coming into their own. It was a really exciting time to get them on the road with us. We got to take Waterparks to Japan for the first time, which was really cool!

  Yeah, you know, I see a lot of us in them. I think it is like that with any band that has been doing this for a long time; I remember kind of being in their shoes. It is really fun to kind of get to be on the other side of it now.

Absolutely! Did you give them any tips on how to stay sane in the music industry for a long period of time?

  You know, we are not really ones to like sit there and be like “Come here, let me teach you the ways.” It wasn’t so much that. The touring world is interesting, though, because I think you really learn by example and lead by example, as well. So that it is kind of how it always really works for us. We got to tour with some of our heroes back in the day, like Fall Out Boy gave us a chance and took us out years ago. Touring with Blink-182 and Green Day and Third Eye Blind and bands that we grew up listening to, it was seeing how they did it that taught us how to do it ourselves. I think that same thing goes for when you take out younger bands. All you have to do is pay attention.

Of course! Learning by experience is definitely something that helps.

  For sure, for sure.

Let’s talk about “Birthday”, which is stellar, by the way.  It’s a bit different, I think a little more laid back compared to some of your music catalog. Where did the inspiration and idea for this song come from?

  Thank you so much! It’s a funny story, actually. I was writing on the road, I think somewhere in Europe — maybe Sweden? I was just bored on tour one day and I was writing a bunch of little guitar parts. I ended up recording one of these guitar riffs into my phone, my voicenotes, and about six months later when I kind of started writing again in the studio, I dug up that voicenote and it ended up being the main, kind of lead riff in the song — the backbone of it. I had also been sitting on this lyric, “I want you in the worst way/I need you like cake on my birthday.” I had basically been sitting on this lyric for probably like three years.


  Yeah, because I thought it was too ridiculous to put in a song. I was really unsure about using it, but we had this music going and suddenly it felt like fit the sentiment of that line. We tried it out and sure enough it was kind of the perfect storm of subject matter and music. It all kind of just came to be!

  You know it was really cool, because like you said it was laid back, and the process for that song really did feel laid back. I think we wrote it in like a day. It was just very quick and natural and fun. Sometimes when those song come together, I find it is some of our best music. We wrote “Weightless” in kind of the same way and that went on to be a strong one for us. It’s just fun. Whenever a song just has a good, natural energy like that without trying, it usually feels like it will be a fan favorite to us. We kind of knew we had something and we just wanted to get it out and summer felt like the perfect time for a song like that.

Definitely! I have been listening to it nonstop, I know fans are loving it. It seems to be perfect for this time of year.

  Aw, that’s good! Well, thank you so much.

No problem! And just a few weeks prior to the release of “Birthday” you released “Everything Is Fine”, which actually has quite a nostalgic vibe to it  — kind of like the other side of the coin. Are these going to be the sounds of a new record like where are these vibes coming from and what are they leading toward?

  It is hard to say! I mean, right now, we are kind of unsure. I think that is kind of the beauty of it. Whether it ends up being an album or just some songs to kind of get us through the summer, it feels like it’s just sort of here for the moment. We had these two songs and we felt like that kind of fit together, but we also kind of felt like it didn’t fit the last record, which is why we didn’t want to do a deluxe of Last Young Renegade or something like that. Last Young Renegade felt like it stood on its own and was just its own thing. This just felt like a really good stepping stone and a way to bring us toward the next thing.

  To be honest, the beauty of where music is right now is that you can just put out a song and see where they land, that was kind of our foray into that world. We had never really done anything like that before release wise, so we just thought that it was All Time Low’s turn to test the waters.

I think you guys are doing that pretty well. Good timing, good music…definitely can’t complain!

  [Laughs] Good!

Being that we are a Jersey-based paper, this past December you celebrated the 10th Anniversary of So Wrong, It’s Right at Starland, our hometown venue. Did you guys always know that you were going to do a celebratory show or a tour dedicated to that milestone for that record?

  I don’t know that we always knew, but the closer we got to the 10 year mark of the record, we sort of saw people asking for it, and it just made sense. That was the record that defined us and gave us our start to put us on the road we are on now. We knew we wanted to do something special for it and New Jersey was such a staple place for us in our coming up as a band. It was kind of one of the first markets that welcomed us and accepted us as if we were a hometown band. It gave us a place to go outside Baltimore when we began doing more shows. It felt really formative. It felt like it had a lot to do with this band becoming successful. It was the perfect venue for that show. Starland always stood out to us as kind of being just a great punk rock venue. We have always had some of our favorite shows there with the most energy. People from up and down the east coast can come out and we knew it was going to be like the perfect mecca for that concert.

I mean, you did do three shows that we all sold out for a reason! Your fans really wanted to come out and hear these songs again and just hear the record played out in full.

  It was really cool. It felt so special. We had never played that record all the way through like that. There were some songs on that record that we had never even played live, so it was really cool to get to share that with people. It was a very special reminder to us of where we came from and it was cool to just pay tribute to that. A lot of people who have been coming out for years to shows came out for them, so there were a lot of familiar faces in the crowd and that is always really cool to share with people. We had a blast. We walked away from those shows feeling really amped up.

I can only imagine that! Like you said, you see all of these familiar faces and so many of your fans have really grown up with you guys. What is that feeling like knowing that you guys and your music are really shaping people’s adolescence?

  It is incredible. None of us ever expected that, you know? We started this band for fun in high school and we didn’t know, by any means back then that these songs were going to stick and have any sort of lasting impression on anyone. It’s amazing, because we just feel so happy to create something that connected with somebody and resonated with somebody.

  At the end of the day, we really do this for the live shows. We love getting on stage and performing and playing for people. The fact that our songs have kind of stood the test of time and bring people together…It’s like it has spanned a couple generations now, too, I guess. We have fans that learned about us over 10 years ago and we have fans that are kind of just learning about us now. It’s really cool to see that all come together and we have realized that there truly is some longevity in what we have done. It’s more than anyone can ask for when you are in this industry, because it is a crazy one. I have seen a lot of bands come and go in our time and we are so, super grateful to keep doing it.

I saw you guys back in, I think 2011? And here I am now, like seven years later, going into music journalism and having the opportunity to interview you — fulfilling so many dreams. It’s crazy, it really is.

  That is so rad! I love that! That is exactly what I am talking about. It’s amazing to see people who kind of came up on the music and now they are in the industry in some way. It’s incredible how interconnected it all is. I see people that used to come to our shows and now work at our label. It’s a crazy path that everybody is taking to get where they are now. It’s rad to just see people who are super invested. It’s crazy to think, also, about the kind of impact that it can have on people’s lives. It’s the same for me, I mean, the music I grew up on…it’s the reason I am here now.

So I only have one more question for you before I let you go back to your rock star life.

  [Laughs] Yes?

As Warped Tour veterans yourself, how you feel about this being the final curtain call, so to speak, for the iconic rock tour?

  Oh man, it’s sad. It is very bittersweet for us, because, again, that was another tour that gave us our legs and established us as a band in this world. We spent several of our early years and our summers on that tour kind of figuring out who were, how we were going to play, learning from the other bands on the tour, and really cultivating a following on the Warped Tour. We are all very grateful for what the Warped Tour did for us in the scene and what it did for the scene in general.

  It is sad to see it go, but everything has its time. I’m just super grateful that we got to be a part of the last one. It was a shame we couldn’t do the whole thing, but we did get to do that weekend and sending it off the way we did was very, very special to us. If we hadn’t gotten to at least be a part of the last one I think we would have hugely missed out. We got lucky and we got to be a part of it and it was great!

I bet it was! I know fans were really glad you could do even just a little bit of it. It meant a lot to them and I guarantee that it meant a lot to Warped Tour as a whole.

  It was sick! I think all the bands that are doing it are having a blast, too. It was cool to see everybody on the tour and it felt very much like it did years ago when we were starting out. The comradery was there, the bands were looking out for each other and just kind of in general hanging out outside of playing the shows. That is always what made that tour special. It kind of became your little family away from home for the summer and that was all still in full affect. It was very cool to see and be a part of.

Catch All Time Low live August 17 at Skyline Stage at the Mann Center in Philadelphia, August 19 at Pier 17 at South Street Seaport in New York, and August 26 at the Stone Pony Summer Stage in Asbury Park.

source: https://www.theaquarian.com/2018/08/15/all-time-low-shaping-lives-and-standing-the-test-of-time/

From their inception — playing covers of bands like New Found Glory and Blink-182 in the suburbs of Baltimore — to crafting original tracks, dropping two EPs and their debut album, it was All Time Low’s sophomore record, So Wrong, It’s Right, that catapulted the band to pop-punk fame. The album’s second single, “Dear Maria, Count Me In” peaked at No. 86 on the Billboard Pop 100, and three of the tracks’ music videos frequently graced television screens via MTV.

author: Jenna Romaine

Fast-forward 10 years, five more albums, global tours, and a VMA nomination, and this Maryland quintet have managed to not only maintain a loyal fan-base, but continually push their musical boundaries and genre limits to progress and thrive. In the face of remaining pop-punk mainstays and their break into the mainstream, So Wrong, It’s Right has acted as an enduring representation of All Time Low’s beginnings and journey. To celebrate the nostalgia of 10 years and all that’s followed, the band are playing the album in full for three back-to-back nights at Starland Ballroom. Lead vocalist, Alex Gaskarth, took some time to talk to The Aquarian Weekly about the past decade, what brings these Maryland natives to New Jersey, and So Wrong, It’s Right’s lasting impact.

It’s been 10 years since So Wrong, It’s Right dropped. Is it that weird for you? Does it feel like it was that long ago?

Oh, man. Honestly, no. The whole thing has been such a whirlwind, such a ride, you know? When I really think about it, it certainly doesn’t feel like 10 years. Ten years sounds like such a long time when you kind of talk about it in context, but no. It’s been a blur, so it’s kind of a weird thing of looking back and reflecting. When I actually stop and think about it, it does like, we were so young then. We were 18, so it’s pretty wild to see how far we have come and what we have been through since then. But no, living in the moment, it certainly doesn’t feel like it.

Is there anything in particular that you remember that sticks out to you from the recording and producing process of the album?

I mean, it was our first big recording experience with a producer and being in a studio that wasn’t like someone’s basement. [Laughs]

There were so many kind of massive new experiences happening all at once. At the time, I remember Matt Squire had been recording with bands like Panic! At The Disco, Hit The Lights, The Receiving End of Sirens, Cute Is What We Aim For, and all of these bands that — to us — were further along in their careers than we were, and the bands that we aspired to be more like. So, I remember that when we first kind of confirmed that we were going to make an album with Matt, it was really exciting times for us, because it was so validating that someone at Matt’s caliber would want to work with someone like us.

And yeah, we were also just thrown into the fire. We had never, like I said, made a record the right way before. We had never gone in and written songs in a production room and taken it to that level of professionalism. We were sort of thrown in the deep end for sure. It was a lot of learning.

Yeah, I can’t even imagine. And did you ever think that you would be here, 10 years later, still recording as a band, putting out albums, and touring?

If you asked me back then I probably would have said, “I have no idea!” We very much had no clue of what we were aspiring to do or be. It was so developmental at that point. I think we were just happy to be making an album and going out on tour — like a real tour.

Yeah, I really don’t know! I think if you would have told us then that we would last 10 years that we would have been ecstatic. That was always our dream and we never wanted to be a flash in the pan kind of band. We always had aspirations to have a long life and not fizzle out. So yeah, it is pretty exciting that we still get to do this.

Absolutely! And, if you don’t mind me asking, how did it end up that you guys are going to be playing your anniversary shows at Starland Ballroom in New Jersey?

Starland is kind of just the perfect venue for that sort of show. It’s actually a pretty big venue, like it holds around 2,000 people, I think. And so it’s not just the perfect size venue, but it also… that venue in particular we played a ton of times. And it always feels really intimate despite being big, and so we thought that room had the perfect balance of being able to fit the amount of people to make it feel inclusive, but at the same time not take it into rooms that felt like they were too big for that album and that era. Does that make sense?


Also, New Jersey has always been like a second home town to us as a band. It was one of the first states outside of Maryland that we started booking shows for ourselves and trading shows with other local acts from New Jersey. It was kind of the one place that, after Maryland, really broke for us before we were a national touring band. So it’s got a warm place in our hearts, as well.

For sure! I mean, I remember you guys, when I was like 15, playing Starland with The Maine and Every Avenue and Mayday Parade.

Yeah, exactly! It’s in a place that we have sort of been through a billion times and it just feels very stable to us, and a lot of those venues have disappeared from Maryland at this point. So, obviously we thought about doing it in Baltimore, but there are not a lot of those old venues left from the time that we started out. There are plenty of new ones that have a similar feel and capacity and stuff, but they don’t have the same kind of sentimental value to it. So, Starland felt like a really good place for it.

What are you most anticipating about the shows?

I think just energy, the overall crowd energy, the fact that the shows sold out in a matter of hours and days really says a lot to me. I feel like a lot of people have really been wanting this this year and really pining for those sort of nostalgia shows, and I am happy that we can be a part of it! I think I’ve said it in interviews before, you know, we don’t want to play to it too much because we don’t see ourselves as a nostalgia band.

We don’t want to dwell on album one, we don’t want to forget about the fact that we are still putting out new music and are trying to grow this band even further. But, it just feels like a really special time to go back and kind of pay tribute to the record that gave us our start really. So I’m just excited about the energy, the anticipation. I think it is going to be just a completely nuts show.

Now, you guys released your new album, Last Young Renegade, this year, which you’ve been touring for, and you obviously still play songs from So Wrong, It’s Right in your sets. But are there any songs from the album that you don’t normally get to play that you’re excited about playing?

Yeah! There are quite a few songs off of that album that we have actually never played live. I don’t think we have ever played “Come One, Come All” live. I’m trying to think of what else is on this album, right now. Off the top of my head, I’m just pulling up a blank. [Laughs]

But, yeah, there are several songs off that album that we have never played and there are a lot that we played, maybe back in the day when we needed the songs the fill the set, but, you know, now we have seven albums, and obviously we do play sort of the key songs from that record. But there are a lot that we haven’t played in many years. I am looking forward to kind of diving back into it and just getting those familiar again; relearning and re-experiencing that energy.

Is there anything in particular that you want to say to the fans coming out to any of the three shows?

Just thank you for selling these shows out so fast! To anyone that is coming: I think it is going to be an amazing time, and I am so happy to know that people are just as excited for it because we are really looking forward to it. We were basically, all this year, trying to figure out what to do for the 10-year, so suddenly this kind of just manifested and I am really looking forward to it. It’s going to be fun!

Catch All Time Low’s 10-Year Anniversary show

source: https://www.theaquarian.com/2017/12/20/all-time-low-so-wrong-its-right/

Staring down 30, the beloved band opens up about keeping fans happy while diverging from the sound that made them huge

author: Brittany Spanos

In 2007, the four members of All Time Low hadn’t even hit the legal drinking age when a couple of boyishly goofy songs about girls began to push them beyond their local scene. Signed to the taste-making indie label Hopeless Records, the Maryland quartet released their scrappy but hopeful sophomore album So Wrong, It’s Right, and suddenly pop-punk had a new band of skinny-jeans-wearing heroes with frosted, side-swept hair.

A decade later, the band sits around a table in Williamsburg, Brooklyn, settling in for a late-afternoon round of bowling at the dive-y Gutter. Clutching beers and fresh off a day of press for their new and seventh album Last Young Renegade, the group of longtime friends – singer Alex Gaskarth, guitarist Jack Barakat, bassist Zack Merrick and drummer Rian Dawson – talk over each other with polite excitement and the type of easy comfort that comes with having been performing and writing with one another for nearly 15 years straight.

“It’s kind of crazy how adult we’ve become,” Barakat reflects. Between tours, the members have each found time to move away from the suburb of Towson, Maryland, where they grew up; currently, the four are spread between Hawaii, Los Angeles and Baltimore. With brief brushes of tabloid fame behind them – Barakat was most famously linked to Playmate Holly Madison and actress Abigail Breslin – the rockers are beginning to settle down. Gaskarth married his longtime girlfriend Lisa Ruocco last spring, while Dawson proposed to country singer Cassadee Pope earlier this year.

Even as they approach 30 and launch new families of their own, the experience of spending their twenties in the limelight makes the band feel as if they’re stuck in a “maturity purgatory,” as Barakat describes it.

“You’re thrown into situations at a young age that people that age usually aren’t exposed to,” Gaskarth explains. “So on that hand, it kind of matures you, sometimes before you’re ready for it. At the same time, as you get older, there’s less expectation for you to act mature. So you get stuck in this limbo between growing up and not having the same kinds of responsibilities as people who don’t live life on the road.”

All Time Low’s maturity purgatory comes with some perks: They can release their most “serious” album yet and still relish every minute of pre-release anticipation. Bowling against one another allows them to indulge in a bit of the harmless chaos that made them stand out in the first place. They pose obscenely, rib each other lovingly, and even though they’re keeping tabs on the scores, they prioritize having a good time over actually winning (though, for the record, Merrick, the band’s quiet jock, racks up the night’s highest score).

When it comes to sales, too, numbers aren’t everything to the band. Though, for the record, their previous album – 2015’s Future Hearts – debuted at a career-high Number Two, while Last Young Renegade marked their fifth Top 10 debut, a hot streak for any artist.

“The chart stuff is great, but we don’t rest everything on it,” Dawson says. “We care more about the career span, so to think about one day as a make-or-break, or anything like that, would be silly for us.”

“But I still think about it every day,” Barakat jokes.

“We’re not gonna be the people at the Oscars that are like, ‘Oh, no, we don’t care about these awards at all,’” Dawson adds.

“Oh, we want those awards,” Barakat chimes in again.

“We’ll take an Oscar,” says Gaskarth as the group erupts in laughter.

“An Oscar … can we?” Barakat offers innocently.

In the mid-aughts, All Time Low were part of a boom of young pop-punk bands becoming boy-band-level icons for even younger listeners in search of equal parts angst and irreverence following the success of Fall Out Boy. With So Wrong, ATL provided exactly that: Two of the most popular songs from the album are a tune about a stripper (“Dear Maria, Count Me In”) and a moving breakup power ballad (“Remembering Sunday”).

Onstage, the band was rambunctious, mimicking the lovable immaturity of their heroes Blink-182 by making dick jokes, climbing up to theater balconies and displaying bras on their microphone stands. Their combination of confidence and cluelessness made them both awe-inspiring and relatable to the even younger kids moshing in the pit. At first, the naughty banter was a defense mechanism for a young band that feared an empty room as much as they did a sold-out one.

“When there’s 25 people at a VFW hall and only three of them are there because they like you and the sound is terrible and the songs aren’t that great, you have to figure out ways to get people to look you up later on MySpace or PureVolume,” Gaskarth says of their early stage style. As crowds grew and they began to expand outside of the United States, the naughty-joke mentality aided them more than ever when they would play in front of “30,000 Rammstein fans” at European festivals. “It’s like, ‘OK, what can we do besides play our show that will maybe have these guys be like, “This band isn’t that bad”?’” Dawson continues.

In the time since that magical pop-punk renaissance from which All Time Low emerged, most of their contemporaries have broken up, reconfigured or moved on entirely. All Time Low, on the other hand, have only gotten bigger.

As the band gets older, their fans remain the same age, with hordes of teenagers filling out theaters around the world. New rock overall has become increasingly less prevalent on radio and the charts, though young pop-punk acts still generate buzz and cult followings. Many of the new generation of young, spunky rock acts – such as 5 Seconds of Summer, SWMRS and Waterparks – cite All Time Low as their biggest influence.

“I’m not just saying this to sound nice, but we’re never going to get used to people saying they started a band because of us,” Dawson says. “Whether it’s a high school kid or a 30-year-old saying Jack inspired them to play guitar or whatever it is, it doesn’t quite feel real.”

“You know that never happened, Rian, but thank you for making me feel good,” Barakat jokes.

For Last Young Renegade, All Time Low have settled into their version of adulthood. Off Hopeless again, they’ve joined Fueled by Ramen, a label with a roster that resembles an Avengers-style lineup of mid-2000s rock mainstays who can still fill arenas and top the charts, like Paramore and Panic! At the Disco. Much like those two bands, ATL have found a way to broaden their sound without jeopardizing what has made them so appealing to young listeners for more than a decade. A bit darker than their past work, the quartet’s seventh LP sounds like one of their most carefully curated statements yet. Gaskarth’s writing and singing are at the sharpest of his career, and the songs overflow with big pop hooks. His personal improvement is a product of years of heavy touring and and a tight album-release schedule, with the band having issued new LPs every other year since 2005.

“We kind of know what we’re doing now,” the singer says with a laugh. Recalling the sessions for So Wrong, Gaskarth notes how songs often arose out of random moments and spurts of inspiration. Matt Squire, who produced So Wrong, would refuse to let the singer back into the studio until he had lyrics to go with the sketchy instrumental arrangements that would come out of their spur-of-the-moment sessions. Now, the band has more focus and vision than ever before.

“It would be unfair to ourselves and unfair to our fans to not push ourselves to try and change and do things that people wouldn’t expect and haven’t heard before,” Gaskarth continues. “Sometimes the easy road is to keep repeating the pattern.”

Touring with bands like Green Day and Thirty Seconds to Mars inspired All Time Low to pursue more of an atmosphere they can reflect in a live show. For the mood of Last Young Renegade, they looked back to move forward: Instead of reverting to the youthful, party-centric vibe of their early releases, the band reflected on their lives and careers as well as the road they took to get to this point. The concept of nostalgia weighed heavily on the band while writing their new material. Gaskarth dug even deeper into his history and cites pre-band childhood memories – watching Ghostbusters and John Hughes movies, for example – as just some of the early moments from his life he used as inspiration.

“A lot of it became about that vintage feel of [my childhood],” he notes. “I thought that would be a cool way to present that emotion musically and sonically, so what we ended up doing was go back and find these analog synths and weird pedals that we dug out of strange equipment rental spaces.”

A year of major musical losses also served as inspiration. The band went back to listening to Prince, David Bowie and George Michael and studied the sounds and qualities that made those artists such icons both in and beyond their time. “We’d key in on a sound or a pad and just a tone and try to take that and pop it in [one of our songs] and see what happened,” Gaskarth explains. “It ended up transforming all the songs into what we ended up with on the record.”

All four members of the band knew that fans would likely be shocked when they heard new singles like the sobering “Dirty Laundry.” All Time Low came of age when social media was still nascent, and have been quicker to adapt to the changing ways musicians can interact with their fans than most artists who weren’t necessarily raised on the Internet. So when the song was released, they kept a close watch over the online response.

“I remember seeing a comment that was along the lines of, ‘Ah, I’m not sure if I like the song, but that last chorus is great,’” Gaskarth recalls. “In my head I was like, ‘That’s the part that feels familiar.’ When it gets big and goes loud, that’s what feels like All Time Low from 10 years ago. That was safe.”

Gaskarth has continued to keep tabs on what fans write about them on Twitter and other platforms and claims that the same person tweeted him a few days later to say that the song had grown on them.

“I’ve been like that with bands, though,” Barakat admits. “Even with the new Paramore, at first I was like, ‘Ah, I don’t get this.’ Then a couple listens in, I’m like, ‘Alright, this is fucking catchy.’ It sometimes just takes a second to comprehend.”

Dawson cites his initial disdain for Green Day’s slowed-down Warning, and all recall being taken aback by Blink-182’s contemplative self-titled 2003 LP, each being thrown off by their favorite pop-punk legends easing into adulthood without a fight. Eventually, all have come around to those two albums with time.

“It’s really important to have those moments where you kind of take the fan base and shake it.” –Alex Gaskarth

“I think the biggest thing when talking about Last Young Renegade is that we wanted to present something fresh,” Gaskarth returns. “I don’t want this band to stop, and I think if we went the safe road and kept making album one and album two over again, it would peter out. It’s really important to have those moments where you kind of take the fan base and shake it.”

Appropriately, All Time Low found camaraderie with a similarly cult-favorite band that has taken huge creative risks in recent years. Tegan and Sara are Last Young Renegade‘s sole guest stars, appearing on the synth-y, atmospheric “Ground Control.” The track is one of the more blatantly Eighties-inspired moments on the album, a reflection of Tegan and Sara’s own foray into big-hook synth-pop with 2013’s Heartthrob. Both acts felt a mutual admiration, and their collaboration yielded a delicate, melodic feel unlike anything All Time Low had pursued before.

“It’s nice because that chorus is all three of us singing,” Gaskarth says of his harmony with Tegan and Sara. “We’ve never done anything like that as a band, so it was fun.”

“Ground Control” is Last Young Renegade‘s penultimate track, followed immediately by what the band describes as their “best impression of Phil Collins,” the slow-burning “Afterglow.” Instead of building toward familiarity, like on “Dirty Laundry,” here the band strips away any trace of the uptempo pop-punk that made them famous.

“It leaves you with that cliffhanger of ‘Well, what’s the next movie going to be like?’” Gaskarth says of “Afterglow,” claiming it as one of the band’s most John Hughes–ian moments. “You wanna end on him with a boom box over his head. Or they’re all walking down the hall, and he throws his fist in the air.”

The band takes a moment to riff on this idea, and suddenly a character named Johnny is walking down the hallway of a school in a made-up film before a final-scene freeze frame. Barakat, in his best movie-trailer-voiceover impression, closes out their goofy, brief interlude:

And Johnny was never seen again. …

source: https://www.rollingstone.com/music/music-features/how-pop-punk-survivors-all-time-low-finally-grew-up-197349/


In 2002, when Fearless Records launched their first ‘Punk Goes Pop’ compilation, it served as a harmless diversion from the traditional rock band oeuvre, and gave fans the guilty pleasure of seeing their favourite sad boy four-pieces cut loose and make pretend at being sugar sweet. Seven further entries later, and now it seems like those records were unpaid internships for a couple of alternative bands, who would find a taste for the genre and emerge, pulsating from a pop cocoon to find themselves beautiful, mainstream butterflies.


Step forward then, ‘Last Young Renegade’, a wholly different effort from All Time Low, and their first on what the band call their dream label, Fueled By Ramen. It’s got everything that an All Time Low record should have: emotive music, catchy choruses, and lyrics that scan as well as two pieces of paper with the staples still in them.

It comes to us through a fog of teaser clips and viral videos, packaged with an album cover which looks like rejected concept art from Kendall Jenner‘s controversial Pepsi advert. It’s awash with synths, heartfelt acoustic guitar, and an unending belief in the power of the ‘anthem’.

It’s not fair to claim ‘sell out’ at the notion that a band might dare make a radio-friendly record; reactionary outcries like this often damage new, genuine growth. But, so systematic is the takeover of ‘Last Young Renegade’ that, if you listen closely, you can chart chronologically the influence of pop sounds on rock albums, like the stages of ape becoming man on that t-shirt your dad wears.

The record kicks off with a track of the same name, which is really, really good. If it all ended there you would not be unsatisfied, that’s how catchy and tuneful this song is. Follow-on ‘Drugs & Candy’ keeps a firm hand on the reverb dial, but plays with guitar and drum lines reminiscent of +44. Mid-point ‘Good Times’ could be a cover of a Coldplay song circa 2011, and, by the time we get to the end track – the thumping, electro-marimba-riddled ‘Afterglow’ – the metamorphosis is complete.

It’s a really competent album, well-made, suitably polished, and it will undoubtedly go down well, but where it shines, it lacks innovation. Mid-2000s pop-punk bands were pioneers; every band, including the one you were in with your mates, was following in the sizeable footprint of Patrick Stump et al. All Time Low were once scarecrows, outstanding in their field, but now they’ve been farming for ideas elsewhere and ended up as sheep.

author: Chris Yeoh

source: https://www.deadpress.co.uk/album-review-all-time-low-last-young-renegade/

While it may not be completely true, it seems like almost every big name rock/pop-punk band has taken a pop-oriented approach to their music recently. Unsurprisingly, this trend has been condemned by many. It’s not hard to see why either. Bands like Linkin Park and Fall Out Boy, while never great, always had a bit of soul that seemed to be completely missing in their recent work. That’s not to say every band has failed in the endeavour to create a poppy album. Paramore’s After Laughter does the nu-wave/pop sound beautifully while retaining the essence of what makes Paramore. So where does this leave All Time Low’s new album, Last Young Renegade? The answer is somewhere in the middle.

Let’s be honest here, we saw it coming. All the signs had pointed towards All Time Low taking on a mainly pop oriented sound, as evidenced by the band’s previous album, Future Hearts. The question here is whether or not they’ve done the sound well. Kinda. Gone are the huge choruses and riffs from Don’t Panic and entering in are wintery synths and chopped vocal hooks. The vocals are subdued and dreamy throughout the album instead of loud and in-your-face. The production on Last Young Renegade is cleaner than ever. Does all this make a bad album? Not really.

Everything on the album is surprisingly catchy. You can tell that the band has put in much more effort than other pop/pop-rock albums that have released recently. Alex Gaskarth’s vocals on the album are at their biggest and may be his best effort yet since Don’t Panic. The melodic synths work well in the songs and are a little more layered and complex under the surface. The chilly and moody vibes come across effortlessly throughout each track, which All TIme Low does exceptionally well. Lyrics aren’t the best, but still work well enough even if simple and cheesy. Highlights like “Nightmares”, “Dark Side Of Your Room”, and “Ground Control” showcase some of the best efforts from the band on the album. The third of which features indie pop duo Tegan and Sara, who fit in perfectly on the track, shifting back and forth vocals with Alex Gaskarth. With all that said, All Time Low still have a few upbeat songs on the album to spice up the album a bit. Tracks like “Last Young Renegade” and “Nice2KnoU” are faster than the other tracks with bigger choruses reminiscent of earlier albums.

Last Young Renegade is not for everyone. It tends to happen when changing style or tone. I expect many people to hate this album to death and I don’t blame them. Most of the bite All Time Low had left is gone from the record. All that remains are slow and chill vibes with subdued choruses and instrumentation. However, I feel that All Time Low does it well. This pop/pop-rock sound is something they always had in them. Whether or not they should continue down this avenue is up for debate, but I’ll be enjoying this album for a while.

author: chris.

source: https://www.sputnikmusic.com/review/73916/All-Time-Low-Last-Young-Renegade/

It’s been 10 years since Maryland quartet All Time Low made a name for themselves with their breakthrough release So Wrong, It’s Right. Since then, they’ve become the flag-wavers for the modern pop-punk scene, picking up where critically lambasted but culturally influential groups like Fall Out Boy, Blink-182 and Good Charlotte left off, and have generated an entire horde of imitations, most of which have broken up in the intervening years. (Pop-punk really only pays the bills when your parents put a roof over your head.)

ATL went through the major label ringer early on, with 2011’s Dirty Work serving as an entry-level pop record beneath their natural talent that went nowhere commercially and resulted in the band parting ways with (some might say dropped from) Interscope/DGC. Since then, All Time Low released a strong comeback album (2012’s Don’t Panic) and a chart-topping sequel (2015’s Future Hearts, which was aiming for a No. 1 Billboard debut but was bested at the last minute by the Furious 7 soundtrack). These albums featured collaborations with Fall Out Boy’s Patrick Stump (Don’t Panic) and Good Charlotte’s Joel Madden and Blink-182’s Mark Hoppus (Future Hearts) — All Time Low had finally achieved the respect of their elders to go along with the adulation of their peers. But sonically, not a whole lot had changed, and the pop-punk playbook is only so deep. So where do we go from here?

Enter Last Young Renegade. Recorded in secret throughout 2016, the album is All Time Low’s second go-’round with the major label machine, being released on Atlantic Records subsidiary Fueled By Ramen. But whereas they were clearly not ready for prime time in 2011, All Time Low ca. 2017 is refined, sleek and frankly, just better than they’ve ever been before. Their sound has gone through a pretty substantial makeover, with a lot more piano and synth action than ever before (“Drugs & Candy,” the Tegan And Sara-featuring “Ground Control”), and a fearless embrace of modern R&B (“Dirty Laundry,” “Life Of The Party”), akin to their now-labelmates Paramore, Panic! At The Disco and twenty one pilots. That’s not to say they’re chasing after pop radio’s tail; they’re simply adapting their sound to remain relevant in a genre that has long since been stagnant. (Thanks, New Found Glory and the 500,000 soundalikes who continue to loiter in Warped Tour parking lots every summer.)

The downside of Last Young Renegade is that it is devoid of anything even remotely resembling the goofiness inherent in the band’s live shows. It’s a very serious album, almost to its detriment: “Good Times” is a bit of a slog, trying too hard to be anthemic, and “Nightmares” is a plodding number that doesn’t add much worthwhile. The closest thing to the ATL of old is “Nice2KnoU,” a truly groan-worthy song title masking a solid melodic rock number that feels like an old Jimmy Eat World LP on 45rpm. The album-ending “Afterglow” is a gem, too, sounding like what might happen if fun. wrote a song with Third Eye Blind’s Stephan Jenkins.

Really, Renegade’s biggest success is its brevity: At 10 songs and 37 minutes, it’s the shortest record the band has ever made; it’s in and out before you have a chance to tire of this new sound. How these songs will work live is something yet to be determined, but kudos to All Time Low for breathing new life into the band after a decade of success.

author: Scott Heisel

source: https://www.pastemagazine.com/music/all-time-low/all-time-low-last-young-renegade-review/