When you were a starry-eyed youth, you thought you could do everything. You could be a rockstar or even the next Speilberg. We all know how that went. Let us look back at when music and films formed the perfect marriage in music video tie-ins to remind you of two failed dreams at once.
Prince “Batdance”
Batman
Tim Burton’s Batman film was absolutely groundbreaking. Then the studios brought in musical genius Prince to form his own personality with the intellectual property in a spectacular 7 minutes. Great costumes, great choreography, overall a great note to end the ‘80s on. Tim Burton was barely 30 when he made this let alone on his 3rd big hit, what’s your excuse?
Devo “Doctor Detroit”
Doctor Detroit
You really can’t go wrong when it comes to Devo. Why didn’t you ever commit to a Devo act? Despite this Dan Aykroyd flick not being a memorable one, Devo goes out of their way to incorporate the movie perfectly into their unique style of video effects and music. And hey, Dan Aykroyd made this movie which is more than you can say.
U2 “Hold Me, Kiss Me, Thrill Me”
Batman Forever
Oh, uh another Batman one. Despite your feelings on U2 or “Batman Forever,” there’s no doubt this is a great music video. Bono and friends are animated to look just like a classic Batman comic book. Becoming a successful graphic novelist is also something you could have done.
Smashing Pumpkins “The End Is The Beginning Is The End”
Batman And Robin
Okay, a third Batman one. Kind of a weird choice to do a non-Batman one then three Batman music videos in a row. Billy Corgan flies around in Batman’s CGI head. Pretty cool. When is the last time you did something remotely cool? Back in college? That was 17 years ago big dog.
Seal “Kiss From A Rose”
Batman Forever
Are you serious? Four Batman videos are on this list? And didn’t we just do “Batman Forever”? Great song though. Video is not much to write home about. Perhaps if you stuck to your film aspirations you could’ve given it more zazz.
Digital Underground “Same Song”
Nothing But Trouble
Finally, we’re back on track. Some very ‘90s choices of culture costumes aside, Digital Underground does a great job capturing the style of the Dan Aykroyd classic. This is also the first single to feature 2pac. Must’ve been nice for Tupac to get this big break…
Dan Aykroyd & Tom Hanks “City Of Crime”
Dragnet
Tom Hanks raps with Dan Aykroyd in this- Wait a minute… “Dr. Detroit,” “Nothing But Trouble,” “Dragnet”… are these Dan Akyroyd choices on purpose?
The Elwood Blues Revue “Land of 1000 Dances”
The Great Outdoors
So just to be clear, this list is Aykroyd-Batman-Batman-Batman-Batman-Aykroyd-Aykroyd- Aykroyd? I’m just trying to rub it in your face about your failed dreams but now I’m distracted by whoever chose the songs for this list.
Paul McCartney “Spies Like Us”
Spies Like Us
At one point Paul McCartney rips his mask off to reveal he’s who else? Sigh… You guessed it, Dan Aykroyd. Hey, at least “Ghostbusters” will probably be on this list soon. “Ghostbusters” was a comedic and special effects anomaly that really inspired you as a kid to be creative. I doubt you ever saw “Spies Like Us.” Also remember when you first learned how to play a Beatles song on guitar?
Siouxsie and The Banshees “Face To Face”
Batman Returns
Now we’re back to a Batman music video. The crossover with “Batman Returns” is much more subtle than the other music videos much like how “Batman Returns” is a much more subtle Batman movie. You read lots of books about how to create subtle symbolism in your art but nothing happened from that. This has to be the last Batman one, right?
Memphisto Odessey “Crash”
Batman Beyond Return Of The Joker
Fitting band for an early 2000s cyberpunk Batman. Wayne Static Appears with his giant hair gelled into Bat ears. Wayne Static expressed himself with his hair in ways you never could. But maybe you could get into hats now. Ever thought about being a hat guy?
Avenged Sevenfold “Bat Country”
Batman Begins
A forgotten cross-promotion from the Chris Nolan reboot. Did you know that the 2016 film “Suicide Squad” had like 7 music video tie ins? I’m not making that up. Unfortunately they’re not Batman focused enough to include here.
Art Of Noise “Dragnet”
Dragnet
Okay back to the Ayk man with “Dragnet” I guess. This one is very similar to the Devo one and that is meant as a compliment. It’s very creative and 4th wall breaking just like the films you never got around to making. Dan Akryoyd sure has attached himself to a lot of great work. It shows what happens when you commit to something.
Beldar & Prymaat “Conehead Love”
Coneheads
Oh look, Aykroyd is rapping with Jane Curtin this time. Not gonna lie this kinda slaps. There’s only one music video left on this list. It better be “Ghostbusters”. There can’t be any more Batman or Aykroyd music videos that can be chosen. Now let’s get to busting!
LL Cool J “Deepest Blue”
Deep Blue Sea
His hat is like a shark’s fin.

This isn’t a surprise to anyone who knows the band. Were this not put out by a legendary death metal band, it would just fade into the large pile of bland late-00’s deathcore albums. Because that’s what it is. The clean vocals are painful, but I guess the rest of the album is done adequately, even the *sigh* keyboards. But it’s just not what we want from Cryptopsy. Maroon 5 have enough talent in their band that they could probably put out a semi-decent hardcore record. But does anyone want that? No. Wait. Actually maybe? Come to think of it, just for the novelty, that would highly entertaining. However, nobody wanted this.
The return to form following “The Unspoken King,” the band’s self-titled album is like when you make regular mac and cheese after an ill-advised attempt at making it with all sorts of weird shit like broccoli and hot dogs and whatnot. It’s nice to get back to the OG vibe, but it’s still gonna take you a second to get your palate back to normal. Because that Trader Joe’s Sriracha is fine, but it sure as shit ain’t Huy Fong, so now everything tastes a little off. And while the internet says you can’t burn off your taste buds, it certainly feels like you did.
Aside from the absolute ass production, Lord Worm’s return to the band is essentially when you hang out with your buddies from back in the day and it goes… ok. It’s not awful. We were all worried Steve was gonna talk about high school too much. But he only brought it up once or twice. And like, Ben is definitely in a cult, right? But he was pretty chill. Also Matt became crazy conservative, I think? But he never brought up politics, so that’s cool. And I think Lee is an anarchist now, which is tight. So honestly, considering how this could’ve gone, it’s pretty good. Not the best time, but definitely not the worst.
Is this the best Cryptopsy can do? No. Are there enough noodle parts? No. Is the production a little slick? Yes. But this album feels like a big step in the right direction. Essentially this is the “Mission Impossible: Ghost Protocol” of Cryptopsy albums. It feels like it’s maybe a revitalization of where the band can go. This current iteration hasn’t quite hit “Rogue Nation” quality and nothing has gotten close to “Fallout.” But overall it does feel like in the next decade we might get some Henry Cavill with a mustache-level of shred from this band, and everybody wants that. We all want the mustache.
This album gets shit on, but shouldn’t. This is one of those albums that had any crossover band put this out in 2000, the scene would’ve lost their fucking minds. But because a “metal” band did, lots of folks thought it wasn’t heavy enough, and found it too “hardcorey” or “jazzy” or “good.” This album makes me wish that if the band truly felt the need to branch out on “The Unspoken King” they had done so in a more Dillinger Escape Plan-type of way. Because this album is noodley as fuck, and we love it. As a sidenote, this album also gets exponentially better when you begin to realize that vocals kinda sound like Sweetums, the Muppet.
This album is goofy as fuck. The production is great. And by that, of course we mean the band understands that one of the most important instruments in metal is the bass. Because the bass is TURNED THE FUCK UP on this album. And all it makes us think is: why aren’t other bands turning that bass up? There are elements to this album that have a Sigh-esque Muppet quality to them. Which you gotta know is a compliment. And yeah, that’s two albums in a row with Muppet references. This shit is weird and silly and scary and chaotic. While it isn’t their best album it’s definitely one we come back to quite a bit.
A possible controversial take to put this at number 2 and not “Blasphemy Made Flesh.” But the reality is: this is a great album. As with “…And Then You’ll Beg” the vocals take a little adjustment to get used to, but only if you’re expecting Lord Worm. Because once you actually embrace the vocals, it’s hard to imagine Worm on this album. Like when your favorite pizza place starts adding a bit of Parmigianno-Reggiano to their pies. It gonna take a moment to get adjusted. You’re just so used to it being simply mozzarella, sauce, and dough. And now there’s just a slight kick from the parm. It’s great. But you need a sec. Change can be hard, buddy. But just know that regardless of me moving out, your mom and I love you very much, and nothing is gonna change that.
This is the one. It’s got everything you want. All the vitamins and minerals. There are times when Lord Worm flat-out sounds like he was listening to a different album in the studio. I mean there are moments when my man has NO rhythm. His vocals on this album are like the dream when you have to play a show and get on stage and then realize you don’t know any of the songs. You might nail some parts. But mostly you’re just hoping you’re not yelling when the song ends. The thing is.. he crushes it. Lord Worm’s performance is no small part of this number-one ranking. This shit is wildly entertaining. It feels like at any moment the wheels are gonna come off, or the band is gonna stop and say “This is just TOO nuts, right? It’s 1998. The world ain’t ready for this.” But the world was. And Is. And always shall be. Amen.
One of ‘em had to be last, sorry… Quiet down! At ten tracks lasting nearly fifty minutes, “Descensus,” Circa Survive’s fifth album, is a very enjoyable listening experience, but it sadly has the least replay value of their entire fantastic catalog. Released via Sumerian Records, then home to other forward-thinking rock acts Periphery and Born of Osiris, Circa Survive’s hybrid blend of every musical genre known to mankind, “Descensus” is so, so much more than a Google search of the actual word descensus; for a good time every time, google the word of this LP and when you’re done, try “Florida Man” and your birthday. Still, this full-length studio album got more than solid reviews from inferior publications, so we’re wrong here like we always are. In closing, Circa Survive and fellow East Coasters Coheed & Cambria always have the coolest album covers.
“Two Dreams,” Circa Survive’s lucky seventh full-length studio album not inspired by Billy Joel’s perfect tune “The River of Dreams,” and swan song as of now, consists of a combination of two EPs, 2021’s happily sounding “A Dream About Love,” and 2022’s morbid appealing “A Dream About Death”. The record was released via Rise Records at the very end of 2022, and was certainly not Rise-Core like Monster Energy Drink mainstays Sleeping With Sirens, Memphis May Fire, Of Mice & Men, and insert chugga-chugga metalcore act here. A few months prior to the release of “Two Dreams,” Circa Survive made a public statement that they were ending one form of a dream, better known as living the dream, and hanging their multi-genre hats, at least for the time being. “Two Dreams” is a stylistic evolution for the band and despite falling under the radar, deserves your attention.
Circa Survive sure knows how to flirt with large and smaller labels, amirite? Want proof? Here you go: “The Amulet,” the band’s sixth full-length studio album, and first/last for Hopeless Records, then home to The Used, New Found Glory, Hands Like Houses, and your favorite and least favorite pop punk band, is certainly an improvement of its former, “Descensus,” unless you’re a total “Descensus” stan; sorry not sorry. Also, if you had a chance to catch CS on their co-headlining run with Thrice for this album cycle, you were treated to an amazing and musically insane show overall, with truly cool openers Balance and Composure and Chon. Actually, it must be said on paper, Circa Survive genuinely brings more than solid support acts on the road with ‘em. More bands should follow that strategy! At night it may get worse, but we’ll never tell a soul.
Birth of the economic hit man with blood from a stone: “Violent Waves,” Circa Survive’s fourth full-length studio album, was kind of handicapped from the start as it followed their three best efforts front to back without a label to support it, which was a far more difficult path ten plus years ago than it is now. However, the band proved that they could overcome said stats and kill ‘em all by producing the nearly hour-long LP themselves, and showcasing their musicianship in a “live” sounding manner… And they did sales wise at number fifteen on the Billboard Top 200, and composition wise! Also, “Violent Waves” has two badass features in Rachel Minton of the underrated Zolof the Rock and Roll Destroyer on “Suitcase” and Geoff Rickley of Thursday one track later on “The Lottery;” our black scene hearts certainly figuratively won the lottery with these additions.
Far from a sophomore slump, but just not good enough for a gold or silver medal here in this piece, Circa Survive’s second full-length studio album and last of two for Equal Vision Records, then home to Chiodos, The Snake The Cross The Crown, Pierce The Veil, and another band name so uncool it’s cool, “On Letting Go,” contains the band’s most publicly successful Spotify song in the verbose by title alone, “The Difference Between Medicine and Poison Is in the Dose”. It also acts as a slightly inferior sequel to their juggernaut debut LP “Juturna,” whatever the hell that means; we’ll get to that sooner than soon. Still, this effort likely put the cherry on the cake for their move to Atlantic Records, a major label in a world of major labels. In closing, producer Brian McTernan killed it here (and destroyed it on their first one as well)!
This record and the potentially surprisingly next to be listed entry have no “skip it” tracks. Zilch. Fight us. Now for our one hundred and fifty obligatory words about “Juturna” that start with three short ones: “What. A. Debut.” Seriously. We are not going to explore the drama that surrounded this band’s inception, and the fallout of another one that buried your head; you all have yahoo.com in your bookmarks that cover your houses of leaves, you know what to do at the prompt. If you remember, remember, and if you don’t, don’t. Anyway, Circa Survive’s first full-length studio album “Juturna” was quite a statement for the scene and the world hasn’t recovered since, in the best way. We’re only asking for you to give eternal props to Anthony Green, Colin Frangicetto, Brendan Ekstrom, Nick Beard, and Steve Clifford for “Juturna” and so much more!
It came as a shock to some that Atlantic Records would sign such a non-typical major label band like Circa Survive, but you can’t argue facts, and the band had commanding numbers that any conglomerate would kill for. Plus, they had cred, which was a solid way to attract other acts to the label whilst making ‘em seem cutting edge. Hardcore and casual fans may scoff at us ranking “Blue Sky Noise” in the gold medal spot instead of its predecessors, but you can’t argue with taste, actually, you most certainly can. Also, it’s badass that BSN was produced by David Bottrill, who sat behind the boards for classic albums from legendary acts such as Peter Gabriel, Tool, King Crimson, and Silverchair. Still, this record is their lone LP on Atlantic, which caused the band to literally get out… Sorry.