you came to me like a dream, the kind that always leaves.
Just as the best part starts, it ends so abruptly.
And leaves you stunned and naked in your bedroom all alone.
It’s kinda funny how something so soothing gets interrupted by the ring of a telephone.
And you broke me like the cigarette that I busted on the day I quit.
But now that I've been drinking, I'm outta smokes and I wish that I had it.
Woke up to my daily headache and the realization that you are gone.
Oh my sweet darling happiness you've been away from me all along.
One thing that I've never said, I'm truly happy in my heart and in my head.
A lonely liver suspended in liquid.
You came to me like a dream, the kind that always leaves.
Just as the best part starts, it ends so abruptly.
And leaves you stunned and naked in your bedroom all alone.
It’s kinda funny how something so soothing gets interrupted by the ring of a telephone.
One thing that I've never said, I'm truly happy in my heart and in my head.
A lonely liver suspended in liquid.
Its one thing that I never did was smile.
Missing a case, lacking a lid.
My heart bleeds for what you never did...
You never did.
For what you never did...
Never did.
For what you never did...
Never did...
Never did...
Never did...
You never did...
You never did...
It’s one thing that I've never said, I'm truly happy in my heart and in my head.
A lonely liver suspended in liquid.
Its one thing that I never did was smile.
Missing a case, lacking a lid.
My heart bled for what you never did until now.
I like,
Where we are,
When we drive,
In your car.
I like,
Where we are;
here.
Cause our lips,
Can touch,
And our cheeks,
Can brush.
Our lips,
Can touch;
here.
Well you are the one, the one that lies close to me.
Whispers "Hello, I've missed you quite terribly."
I fell in love, in love with you suddenly.
Now there's no place else I could be but here in your arms.
I like,
Where you sleep,
When you sleep,
Next to me.
I like,
Where you sleep;
Here.
Our lips,
Can touch,
And our cheeks,
Can brush.
Cause our lips,
Can touch;
here
Well you are the one, the one that lies close to me.
Whispers "Hello, I've missed you quite terribly."
I fell in love, in love with you suddenly.
Now there's no place else I could be but here in your arms.
So, Being the Hardcore fan that I am, and always have been, (not too happy with the last album...)
I want to post some Good news! For both Matt Skiba and for the Trio!
I´m super stoked on the new album, out February 23rd!("This Addiction")
Matt Skiba will be Releasing his new album "Demoes" in February also, the 16th to be exact! On his myspace profile and blog it says summer though...
Matt Skiba:
August 20, 2009 - Thursday
So it is definitely happening. I will be recording a new solo album at the end of August. Not sure of a release date yet, but it's happening. Asian Man Records will be releasing the new record. It's nice to be back with family.
Fans have heard Alkaline Trio performing a new track, 'This Addiction,' on their last tour, and now frontman Matt Skiba confirms that it will be the title track to their seventh studio album. Like many of the Chicago punk act's songs, it involves pain, sorrow and a bit of self-loathing.
"It's a metaphor for being addicted to somebody, being in love with them," Skiba tells Spinner. "A lot of times, it has a lot to do with people that get in a routine of being unhappy, like a woman who dates or marries men that beat her or cheat on her."
"It's about a relationship gone bad and, for some reason, you just can't quit it," he adds. "We use the metaphor of being addicted to heroin or any kind of drugs. The reference in the song particularly is to heroin and methadone and trying to kick an addiction, but it's a metaphor for love."
The cheery subject is something Skiba says everyone can relate to. "It's a human condition that I think we all, in one way or another, fall victim to," he says. "It's not to say that people can't be happy or find bliss in a relationship. It's just amazing to me how unhappy most people are and they can't shake it and can't fix it, much like an addiction."
The album, which is due out Feb. 23 via the band's Heart and Skull label partnership with Epitaph, is finished and the Trio are currently finalizing the artwork. The band will also kick off a tour with Omaha rockers Cursive later that month. Dates have yet to be announced.
Also coming out with a new album, Crime in Stereo! Stoked.
Kristian Hallbert- Vocals, is a cool guy!
Monday, November 09, 2009
News about our upcoming album!!!
As some of you may have already heard, our next album, I WAS TRYING TO DESCRIBE YOU TO SOMEONE, is going to be released by Bridge Nine Records in the US/Canada on February 23, 2010 (and in the UK and Europe the day before that). We recorded it with Mike Sapone (Brand New's DAISY and THE DEVIL AND GOD..., as well as our last album, IS DEAD) over the last several months, and are super proud of the fact that every one of the 11 tracks on the new album are truly light-years better than anything we've ever written before.
Wednesday, December 09, 2009
Crime In Stereo album release shows announced!
We're going to be playing a handful of headline shows around Philly, NYC and Boston in late February to mark the release of our new album I WAS TRYING TO DESCRIBE YOU TO SOMEONE on Bridge Nine Records on Feb 23, 2010.
Tickets for these shows will go on sale this Friday and ticket links will be posted before then, on the show section of our MySpace. More tour dates and details about our show lineups will be announced in the weeks to come as well (including shows in the UK)....
Thurs Feb 25 @ The Note in Philly (West Chester, PA)
Fri Feb 26 @ The Studio at Webster Hall (NYC)
Sat Feb 27 @ Middle East (Cambridge, MA)
Hope to see many of you at these shows!!!
Check the Video!
http://www.youtube.com/watch?v=3YXA1oofgjg
I´ve been reading up on the Hardcore scene and how its changed through time.
An Interview I read with Kurt Ballou caught my eye! I Loved what he had to say. 7 inches are the way to go. And yes, I think bands today, if you make it really fast, you´ll fall hard. And Eat the ground!
I want to post just a part of what he said, but I will also link you, so you can do some reading of your own if you like!
Interviews: Kurt Ballou (Converge)
The whole hardcore genre really seems to have changed I’m sure since you guys first started. I know you keep producing a lot of great bands within that scene. How do you feel about today’s current status of hardcore?
Ballou: I think it’s better now than it was in the 90s. I think in the 90s that’s when hardcore went suburban and the metal influence came in a lot. Obviously there was a metallic influence in the late 80s with Cro-Mags, and Slapshot and Judge and Leeway and all these crossover bands such as Suicidal Tendencies. I think the suburban kids such as ourselves, we had that kind of hardcore influence from going to shows, but we were also the first generation that had MTV and Headbangers Ball. So we’d go to see Slapshot on the weekend or Bad Brains or whoever and come home and watch Headbangers Ball and see Slayer and Metallica. I think the 90s there was a lot of early attempts at fusing those things and a lot of it was really cheesy. A lot of that moshcore stuff that came out of the 90s was really bad. There’s always going to be bad music, there’s a lot of god awful terrible music now, there’s a lot of god awful terrible music from the 80s, but I think with time a lot of the bad stuff gets forgotten about and the good stuff gets remembered so I think certain time periods get revered more than others.
Then in the 90s you also had these hardcore kids from suburbia…. like in the Black Flag era there were a lot kids who had no other choice but to be hardcore kids. They’re urban kids, they’re runaways, they’re from broken homes, they’re people that are suffering and desperately needed an outlet. It had nothing to do with fashion or anything like that. There’s definitely some posturing going on, but it wasn’t a fashionable thing, it was dangerous and it’s just what these people were coming to do. That’s not to say affluence precludes any kind of suffering, but it’s a different kind of suffering that happens among suburban and upper middle class kids which is where hardcore starts to move in the 90s. So you have this new thing that starts to happen in the 90s called emocore, which is driven by people that don’t have such a dangerous life. It’s the classic suburban depression, kids who otherwise would have been into The Smiths or The Cure or even The Red House Painters and then started to form this more tempered music. When that term was coined, they were referring more to the D.C. scene, which is more like the intellectual side. There are a lot of politics in D.C. so you have a lot of politicians, lobbyists and other businesses in the area so you have a lot of intelligent people in the area who are having intelligent kids. So these kids are thinking more outwardly and more politically. So you have the Revolution Summer and the birth of Rites of Spring and later Fugazi and Moss Icon and these other kind of bands. All that stuff gets filtered of this kid who knows about hardcore and the metal they’re playing on MTV and the result is the 90s screamo, sweater vest, horn rimmed glasses sort of scene and so little of that stuff was any good. And between that stuff sucking really bad and that early metallic stuff sucking really bad I think it took a really long time to flush itself out and become it’s own thing than being a poorly played derivation of a lot of other things. Now that I think that evolution has happened it’s refined and it’s a higher caliber than it was in the 90s.
Another big difference in how the music has changed since when we started is the business. There’s this constant access to music that we didn’t have back then. It’s not really better or worse, it’s just different. We used to buy 7 inches and we used to take it and send it to your friend or your pen pal and you’d have to recycle your postage because there’s no email yet or downloading so local scenes would develop a lot stronger. Bands from Boston tended to sound like each other because bands wouldn’t go on tour very frequently so you’d end up playing with the same bands a lot and influencing each other more than bands across the country. So there’s this Boston sound, this L.A. sound, this New York sound. But then downloading and MySpace starts coming up and it dilutes the local scene identity and it makes music a lot more competitive in all genres of music. There’s so much out there and there’s so much access to it so only the music that requires the shortest attention span that people will pay attention to. So if something doesn’t have a great recording or a hook right away it’s really easy to dismiss it and move on to something else. It used to be like I would go to the record store and buy a few CDs or records or tapes and even if I don’t like it that much, I don’t have that much music in my collection so I spend a lot of time with each record and getting to know it and it might rub off on me and I get to understand it. That kind of thing doesn’t really happen anymore so it’s a really different environment. Touring has become the same way as the scene has grown and people are able to make money touring. Everything has become a lot more lowest common denominator with regards to the tours that you do and the music that you write because people are thinking about their careers more than about expressing themselves. The fans support that mentality through their buying practices.
