Get Hurt The Gaslight Anthem

• 1Stay Vicious03:34
• 21,000 Years03:39
• 3Get Hurt03:43
• 4Stray Paper02:49
• 5Helter Skeleton03:14
• 6Underneath The Ground04:06
• 7Rollin' And Tumblin'02:51
• 8Red Violins03:21
• 9Selected Poems02:53
• 10Ain't That A Shame03:03
• 11Break Your Heart04:20
• 12Dark Places03:45
• 13Sweet Morphine04:17
• 14Mama's Boys04:01
• 15Halloween03:12
• Total Runtime52:48

Info for Get Hurt

New Jersey rockers The Gaslight Anthem return with their eagerly-anticipated new album „Get Hurt“. Recorded at the legendary Blackbird Studios in Nashville with producer Mike Crossey (The 1975, Arctic Monkeys and Jake Bugg), „Get Hurt“ sees The Gaslight Anthem pushing their raw, stripped back rock 'n' roll into new territory, drawing on a fresh palette of influences ranging across folk, punk, and Americana. It is an album that is heavier, and yet at the same time more intimate, than anything they have produced to date.

„There's always been something a little nostalgic about the earnest, rust belt rock of the Gaslight Anthem, and it wouldn't be unfair to say that the band has been looking to the past with a laser focus on the rugged songwriting of New Jersey's favorite son, Bruce Springsteen. On Get Hurt, the fifth studio album from the Garden State rockers, the band expand their influences to create what might be their most unique album to date. Exploring the rock sounds of the '70s, the band show off their versatility as they take listeners on a guided tour of the LP bins of the day. Opening with a droning riff culled straight from the annals of classic stoner rock, the first track, "Stay Vicious," makes it clear that something very different is happening here. Given their past work, the last thing anyone would expect from the band is to open up their album with dirty, fuzz-covered guitars, but somehow they make it work. Further in, the searing leads and yearning vocals of "Helter Skeleton" feel like an homage to the starry-eyed power pop of Cheap Trick. No matter what sound they're using for a framework, though, the Gaslight Anthem always find themselves returning to these little moments of quiet honesty, stripping away the swagger to expose the emotional core at the center of their music. Delicate tracks like "Underneath the Ground" reveal that the real essence of the Gaslight Anthem's sound isn't sonic so much as it is emotional. Get Hurt shows that so long as they're passionate about their music, it doesn't matter where the band are getting their inspiration from, because genuinely caring about something is always compelling.“ (Gregory Heaney, AMG)

Brian Fallon, vocals, guitar
Alex Rosamilia, guitar, backing vocals
Alex Levine, bass, backing vocals
Benny Horowitz, drums, percussion, vocals
Ian Perkins, vocals, guitar

Engineered by Mike Spink
Produced by Mike Crossey

The Gaslight Anthem
The late Nashville songwriter Harlan Howard famously defined the ingredients of a great song as "three chords and the truth". Every songwriter knows three chords, but laying bare the truth? Now that can be an altogether trickier affair...

On January 18, 2012, The Gaslight Anthem piled into their old tour van and headed across the New Jersey state line for a 14-hour road trip to Nashville on their own quest for the truth. Their destination was 2806 Azalea Place, Nashville, Blackbird Studio, where the New Brunswick quartet had booked five weeks recording time with producer Brendan O'Brien (Bruce Springsteen, Pearl Jam, AC/DC). Their mission: to reconnect with rock 'n' roll in its most feral, pure, stripped-raw form.

Brian Fallon was thirteen years old when he discovered The Clash's self-titled debut album in the racks of Sound Effects Records in Hackettstown, New Jersey: the owner of the store promised the young teenager that the record would change his life. He wasn't wrong.

But there was a time, not so very long ago, when The Gaslight's Anthem frontman had grown weary of the sound of electric guitars. After three albums of soulful, impassioned, hearts-on-fire punk rock -- 2007?s "Sink Or Swim," 2008?s "The '59 Sound" and 2010?s "American Slang" -- Fallon needed a change of pace, a change of scenery. And so, in January 2011, together with TGA guitar tech Ian Perkins, he formed The Horrible Crowes, a darkly melancholic side-project inspired by his love of The Afghan Whigs, Tom Waits and PJ Harvey. After the band's acclaimed debut album "Elsie" dropped in September, Fallon joined fellow punk rock troubadours Chuck Ragan, Dan Andriano (Alkaline Trio) and Dave Hause (The Loved Ones) on the acoustic Revival Tour, airing stripped-down versions of Gaslight Anthem and Horrible Crowes songs to packed rooms across Europe. And then he returned home to New Jersey and Gaslight, re-energised, renewed and ready to make a full-tilt rock 'n' roll record again.

"After six weeks of that there's nothing you want to hear more than a Marshall stack turned all the way up," he says with a laugh.

The result is "Handwritten," the most committed, affecting and compelling album of The Gaslight Anthem's career to date. Introduced by muscular lead-off single "45," which received its world premiere on BBC Radio 1 as Zane Lowe's Hottest Record In The World on April 30, it finds the Jersey boys in inspired form, decanting '60?s soul, '70?s stadium rock, '80s hardcore and '90?s grunge into eleven white-knuckle, blue-collar everyman anthems. Brian Fallon likens its incandescent electrical storms to "Tom Petty songs [being] played by Pearl Jam." Put more simply, it's a supercharged American rock 'n' roll classic.

"We've taken everything we do and gone to 10 with it," says the singer. "This is definitely the Gaslight Anthem record I would want next, if I were a fan. 'American Slang' was cool, but this sounds like a band who has plugged back into the electric socket again."

"I think these songs are the closest thing to what we should have always sounded like," adds guitarist Alex Rosamilia. "We just hadn't figured out yet how to play it right."

Fallon credits Brendan O'Brien for capturing the raw, live-off-the-floor feel of Handwritten. Fine-tuned in the living room of the small rental house the band shared in Nashville, its eleven tracks were recorded with the whole band eyeball-to-eyeball in one room at Blackbird, vibing off one another's energy. The electricity in the recordings is tangible.

"Brendan taught us a ton about songwriting and recording as a band," Fallon notes. "The whole experience was amazing. That's the guy that recorded Pearl Jam, that's the guy that recorded Bruce Springsteen, that's the guy that did Rage Against The Machine; and that's the guy you want to say 'It's good', because when he says it's good, that's when it's good."

The purity of O'Brien's stark, unadorned recording process served to inspire Fallon's approach to the lyrical themes on "Handwritten" too. Where previous Gaslight Anthem albums evoked deathless images of Americana -- all Cadillacs, jukeboxes, Ferris wheels and wistful, romanticised vignettes of star-struck lovers disappearing into the great wide open -- "Handwritten" is rooted in Fallon's own experiences, lending the record a more immediate, emotional edge. "Now I am no angel but I got nothing to hide," the singer rasps on the brooding grunge-noir of "Too Much Blood." "Can you say the same thing for yourself tonight?"

"It's supposed to be a letter to whoever is listening," says Fallon. "Like, this is what we got beat up by and maybe you did too. There's so many things that I just never wrote about, real personal stuff that I just wasn't ready to talk about yet. Now I think being an adult I have some reflection on it."

"We wanted to look back on the music that we first found when we were in high school. The truth is, if you're my age, you were listening to Pearl Jam and Nirvana and Soundgarden. When that music came out these were guys that we could relate to. They weren't the biggest bands in the world by accident."

And it's no accident either that with "Handwritten," the Gaslight Anthem themselves sound built to take on the world. After years paying their dues in the punk rock underground, their major label debut is assuredly the work of a young band who know their time is now. And their laidback, charismatic frontman is ready...

"I've always been ready for arenas," Brian Fallon smiles. "I've just been waiting for them to catch up to me. I want to play Giants Stadium, I always wanted to be a major label, major league band. If I can be the kid that's on the cover of Time magazine, I'll take it. And I'll buy you a drink while I'm at it..."

This album contains no booklet.