Touché Amoré Melden Sich Zurück Neues Album Erscheint Auf Epitaph

Touché Amoré (hier während ihrer Show in Hannover) melden sich mit ihrem neuen Album "Stage Four" zurück, das über Epitaph Records erscheinen wird. Touché Amoré melden sich zurück Neues Album erscheint auf Epitaph 22. Juni 2016, Von: Redaktion, Foto(s): Maria Graul Die US-Post Hardcoreband Touché Amoré hat für den 16. September ihr neues Album "Stage Four" angekündigt und mit dem Song "Palm Dreams" einen ersten Song veröffentlicht. Das Album erscheint erstmals über das Label Epitaph Records. Die Vorgängeralben "Parting The Sea Between Brightness And Me" und "Is Survived By" wurden über Deathwish veröffentlicht. Vor rund drei Jahren veröffentlichen Touché Amoré ihr letztes Album „Is Survived By“ und im Zuge dieser Veröffentlichung spielte die Band aus Los Angeles im Mai 2014 auch im Musikzentrum in Hannover. In der Zwischenzeit ist es eher ruhig um den Fünfer geworden, doch nun meldet sich die Band zurück und kündigt das neue Album „Stage Four“ an. Es ist das mittlerweile vierte Studioalbum der Band. Anders als die letzten beiden Album wird das neue Werk allerdings nicht über Deathwish – dem Label von Converge-Frontmann Jacob Bannon – veröffentlicht, sondern über Epitaph Records, dem Label von Bad Religion-Gitarrist Brett Gurewitz. Somit gesellen sich Touché Amoré zu Bands wie Architects, Bring Me The Horizon, Defeater, Frank Turner, The Offspring und Pennywise. „Ich öffne mich Menschen gegenüber normalerweise nicht besonders, aber wenn ich Songs schreibe, möchte ich so offen und aufrichtig wie möglich sein“, so Sänger Jeremy Bolm über das neue Album. Auch auf den letzten Werken zeigten sich Touché Amoré stets sehr emotional und Bolm nutzt die Songs als Ventil für seine Gefühle und Ängste. Auf „Stage Four“ behandeln Touché Amoré 22. Juni 2016 1/2 © Rockszene.de 2021 thematisch die Tatsache, seinen „Traum zu leben“, aber gleichzeitig dafür auch viel aufgeben zu müssen. Mit „Palm Dreams“ geben Touché Amoré bereits einen ersten Vorgeschmack auf das neue Album. Auffällig ist hier vor allem die präsenten cleanen Parts, die zuvor untypisch für die Band waren. Links: www.facebook.com/ToucheAmore Ähnliche Artikel auf Rockszene.de: „Durchhalten und Mut“ als roter Faden(06.02.2021) Der Rockszene.de-Jahresrückblick 2020 Teil 1(28.12.2020) Folk-Punk mit Band am Geburtstag(10.12.2020) Über 500 Fragen an Rock-Experten(24.11.2020) Mit Liebe zur Musik von R.E.M.(23.11.2020) © Copyright: Die Texte und die Fotos in diesem Artikel sind urheberrechtlich geschützt. Weitere Infos + Nutzungsbedingungen im Impressum 22. Juni 2016 2/2 © Rockszene.de 2021.

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THE BALLAD of BLACK TOM • MONSTER HUNTER WORLD • PERSEPOLIS • FREAKAZOID • TOUCHE AMORE • Editor in Chief | Stu Horvath
ISSUE THREE EXPLOITS JUNE 2018 an UN WINNABLE publication ART vs. ARTIST by KHEE HOON CHAN THE BALLAD OF BLACK TOM • MONSTER HUNTER WORLD • PERSEPOLIS • FREAKAZOID • TOUCHE AMORE • Editor in Chief | Stu Horvath Exploits Managing Editor | Melissa King Music Editor | Ed Coleman Books Editor | Gavin Craig Movies Editor | Amanda Hudgins Television Editor | Sara Clemens Games Editor | Alyse Stanley Cover art by Robert Hunt, from The Ballad of Black Tom Copyright © 2018 by Unwinnable LLC Unwinnable 820 Chestnut Street All rights reserved. This book or any portion thereof Kearny, NJ 07032 may not be reproduced or used in any manner whatsoever without the express written permission www.unwinnable.com of the publisher except for the use of brief quotations in a book review. For more information, email: [email protected] Unwinnable LLC does not claim copyright of the screenshots and promotional imagery herein. Subscribe | Store | Submissions Copyright of all screenshots within this publication are owned by their respective companies This machine kills fascists. ART vs. ARTIST by Khee Hoon Chan ike most sullen, angsty teenagers from the ‘90s, I was obsessed with emo, whil- Ling my days away on music from brooding white boys like Taking Back Sunday, Brand New and Hawthorne Heights. Brand New’s music had a huge presence in my formative years, with frontman Jesse Lacey’s dour posturing, caviling howls and logorrheic lyrics giving voice to the inexplicable emotions of teenhood. However, in light of revelations about his sexual violence, their songs have become abhorrent and unlistenable. The joy of listening has been replaced by outrage and guilt, as if my enjoyment made me complicit in his crimes.
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