ACLU "MUSIC FOR EVERYONE" BENEFIT COMP
‘During these next four years, I feel it’s going to be extremely important to support organizations that will stand up to the Trump administration. I also wanted to give artists an opportunity to express something about what’s gone on in this country over the past year and what’s coming in the next ones. I needed that for myself and wanted to connect with other people who needed it. And I wanted to take that need for self-expression and channel it into something bigger than all of us.’ – John Nolan
Music, like most of the fine arts, is a perfect medium for communicating attitudes, ideas, and emotions. Punk was pioneered by taking advantage of that medium and using it to convey a universal discontent that people from the right, people from the left could get behind in a protest that rails less against specific issues than it does against perceived injustices overall. ‘Music Is For Everyone’ was engineered by John Nolan on the grounds that this would be a protest, a stand up to a presidential administration; therefore, it follows that the intention of this album is to be something that demonstrates either metaphorically or explicitly a political statement or denunciation..
Music Is For Everyone is a compilation of unreleased and hard-to-acquire tracks from a broad spectrum of artists – Anti-Flag, Anthony Green (Circa Survive/Saosin), Taking Back Sunday, Allison Weiss, and Lolo among others. Listening through gives an eclectic blend of indie, pop, and emo that can only be described as introspective ear candy that begs for repeated listens. However, it falls short of its prescribed objective by failing to make a political or societal statement of any kind and relies solely on the explicit idea that this should be a protest, as quoted by Mr. Nolan. Despite maybe a smattering of political, driven rock from Potty Mouth, Frank Iero, or Anti-Flag, an upbeat indie album disguised as old school punk comes across as disingenuous, if not ineffective.
That isn’t even the biggest disappointment of this project – the biggest disappointment is the lack of attempt by Taking Back Sunday, Nolan’s band. Rather than opting to step outside their comfort zone and attempt something that would be appropriate for the intention of the album, they submit a stripped down, mournful guitar ballad that while fits in well with the rest of the collection, represents the album as a whole: lacking any real punch or substance.
- Kevin Pereira