Red Scare – Release Date: 4/23/21

Last month, Sam Russo released a surprise EP via Red Scare, called Refuse to Lose. With his previous full-length, Back to the Party, being released in March of 2020, Russo wanted to show his appreciation for everyone who listened to the album during the pandemic. So, he recorded these three songs, all of which are full band interpretations of tracks from Back to the Party. In addition to Russo, the lineup on this EP consists of Chris Stockings on guitar, Garth Vickers on drums, and Alkaline Trio bassist Dan Andriano.

The first entry is an energetic rendition of “The Window.” Despite the added instrumentation, Russo’s voice is still the most prominent element and his assured vocals pave the way during the anthemic chorus. The rest of the band provides a spirited and lively arrangement, elevating a song that was already great and making it even better. “The Basement” is a solemn, introspective number that’s reminiscent of early 2000s emo. Its lyrics are especially personal and read almost like a confessional as Russo reflects on an impactful relationship from the past. The rhythm section really shines on this track, delivering a multitude of unique tempos that keep things interesting throughout. The final song, “Young Heroes,” is upbeat and undeniably catchy, but the earnest nature of Russo’s songwriting is still retained. The song fittingly builds to a rousing sing-a-long and in the best possible way, leaves the listener wanting more.

Refuse to Lose demonstrates the quality of Russo’s songs, as they’re equally enjoyable in either a solo acoustic style or with a full band. Given how well this EP came together, it should be interesting to see what direction Russo opts for on his next release. Until then, those that have yet to sample his two most recent offerings should definitely take this opportunity to do so.

Sell The Heart Records – Release Date: 3/5/21

Earlier this month, Decent Criminal released a three-song single, called DC/EP. These songs represent a noticeable shift for the band, as they’ve embraced new influences and further developed their songwriting. The first song, “Drifter,” begins with a hazy, atmospheric intro. Its verse exudes ‘90s alternative and segues to a quiet bridge before the chorus comes crashing in at full volume. The head-bopping hook is extremely infectious and likely to be stuck in listeners’ heads for days. “Reap” is a super-catchy entry with a modern Motown vibe. The inventive bass playing is the most prominent aspect of this song and it takes the lead during the chorus. Here, the bass lines bob and weave around the vocals, creating a unique melody and an especially distinctive sound. “Bizarre” is a no-frills banger, mixing power pop with classic rock ‘n’ roll tendencies. Despite being just over two minutes long, they manage to include a lot of impressive subtleties in a short amount of time. On DC/EP, Decent Criminal sounds like a band who’s ascending to a new level. With each of these tracks, it’s clear that the members are working together and doing what’s best for the song, rather than trying to be flashy. It’s that sort of unselfishness that lends itself to great songwriting. If this is any indication of what to expect from their next full-length, then fans should start to anticipate something special.

Chunksaah Records – Release Date: 3/12/21

Next month, Ship Thieves will release their fourth album, called Irruption. The band is fronted by Hot Water Music singer/guitarist Chris Wollard and also features members of Samiam and The Enablers. Irruption is their first full-length since 2016 and represents their most focused and cohesive material yet. The record charges out of the gate with “The Embers of Enlightenment,” a streamlined and urgent rocker that finds the Ship Thieves operating at peak efficiency. Wollard’s vocals sound authoritative and the accompanying “whoa-oh-oh” backing vocals are perfectly placed. It’s a great song to open the album with and just plain kicks ass. “Ghost Town” is dissonant and somewhat moody, and features impressive bass work that really drives the song. It also offers an interesting contrast of a speedy rhythm with a more relaxed vocal pace. “Tangled Net” has a prominent rock ‘n’ roll influence, with an underlying punk rock foundation. It boasts a rousing sing-a-along in the middle section that’s easily one of the best moments on the record. “Virulent Man” also bears mentioning, as it recalls early Foo Fighters and contains an exceptional guitar solo. Irruption plays like a complete work as its songs are interwoven and tell an overall story. The production, courtesy of Ryan Williams, is spot-on and really elevates the songs as well. Hopefully the band will have an opportunity to play them in a live setting later this year, assuming it’s safe to do so, because these songs are tailor-made for a loud and rowdy club show.

Dine Alone Records – Release Date: 1/01/21

In early January, The Dirty Nil released their third full-length, titled F*** Art. Every aspect of this album, from the writing to the performances, as well as the production, represents a significant step forward for the band. The first song, “Doom Boy,” opens with an aggressive thrash metal intro, while singer/guitarist Luke Bentham’s commanding vocals anchor the verse. Palm-muted chords in the bridge lead the way to a sprawling chorus, which is underscored by tongue-in-cheek lyrics. The fact that the band doesn’t take itself too seriously makes the song that much better. “Done with Drugs” is another prominent entry and features a catchy power pop vibe. It boasts hook after hook in its chorus and its lyrics seem like somewhat of a commentary. They compare those who talk about making changes versus those that simply do so and quietly go about their business. It’s undeniably one of the strongest songs that they’ve written thus far.

“Hello Jealousy” enjoys power chords aplenty and is one of the most punk-leaning songs on the album, while “Possession” is reminiscent of ‘80s metal and includes a defiant, attitude-filled chorus. The record’s final song, “One More and the Bill,” is a suitable song to end with in that it brings together many of the reoccurring lyrical themes. A portion of its words include the following: “Gonna smash my TV / Smash my phone / Leave politics alone / Go outside for a while,” which is a feeling that many will find highly relatable nowadays. There’s also some eye-popping guitar shredding that’s present around the middle portion of this song that bears mentioning. As much as F*** Art signifies a new plateau for the band, it doesn’t seem as though they’re anywhere near their ceiling. They continue to evolve their own irreverent brand of rock ‘n’ roll and show no sign of altering from that trajectory anytime soon.

Self-released – Release Date: 10/23/20

Last month, Dave Hause released a pair of new EPs. One is called Patty and features covers of Patty Griffin songs, while the other, Paddy, contains songs written by Patrick “Paddy” Costello of Dillinger Four. This review will focus solely on the Paddy EP, as I am much more familiar with the work of D4. In a few words, Hause has done a masterful job of reimagining these songs in a stripped-down, acoustic fashion. His interpretations draw the lyrics to the forefront and illustrate just how relevant Dillinger Four’s message remains after many years.

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Fat Wreck Chords – Release Date: 10/09/20

Earlier this month, Get Dead released their first album in four years, titled Dancing with the Curse. In that time, they’ve managed to significantly reimagine their sound and create what is easily their strongest record yet. The opening track, “Disruption,” has an ominous intro with vocals that feature a spoken word/hip hop influence. Before long it segues seamlessly to ska upstrokes and an off beat rhythm. The gravelly vocals shift to a more rapid-fire delivery and then a head-bopping chorus takes over that’s boosted by more ska guitar. There’s certainly a lot going on, but it’s all blended together in a fluid manner. The end result is a fairly dark and raw interpretation of ska, not unlike Operation Ivy.

“Fire Sale” is a fast-paced, punk-leaning song with somewhat of a Swingin’ Utters vibe. It also contains a massive chorus that comes crashing through around the one-minute mark. “Confrontation” is an urgent song that takes shots at the left and the right, and talks about how divided our country is. It builds to a frantic pace before describing an active shooter scene, which is both powerful and sadly still topical. Another noteworthy entry is “Hard Times,” as it incorporates organ with a strong vocal hook. It also offers some of the album’s best guitar leads.

With the final song, “Take It,” Get Dead may have saved the best for last. It begins with a rousing intro and quickly transitions to double-time ska in the verse. A catchy bridge paves the way to a sprawling, sing-a-long chorus that hits like a tidal wave. It conveys a defiant message that urges listeners to reject what passes for normal in today’s society. In short, this is the kind of song that’s best enjoyed at full volume and simply a great way to end the record.

Dancing with the Curse sets a new benchmark for Get Dead and ushers in a new era for the band. Everything from the writing to the performances, and the production, represents a substantial step forward from their previous material. This is without a doubt one of the best punk albums of the year and one that will likely be influential for years to come.

Pure Noise Records – Release Date: 7/17/20

Last month, Strike Anywhere released an EP called Nightmares of the West. It represents their first new music since 2009 and not only picks up right where they left off, but also sounds as urgent as ever. The first song, “Documentary,” is a great example of the band’s classic, melodic hardcore sound. Its chorus is led by singer Thomas Barnett and its lyrics act as a rallying cry, (“We deserve to fight for everyone / For all that we’ve lost, for all that we are”). The next entry, “Dress the Wounds,” is aggressive and fast-paced, and its precision tempo stops and starts on a dime. “The Bells” is the most melodic song on the EP and features catchy guitar leads that are interwoven with the vocal melodies. Its lyrics talk of revolution and really couldn’t be more relevant, (“No one forgets / No one remembers at all / Till monuments fall”). “Imperium of Waste” opens with a riff that complements the lead vocals and slowly builds in intensity. The rest of the band comes crashing in after a couple measures and sounds nothing short of supercharged. The virtual wall of vocals in the chorus is both powerful and inspiring, resulting in what is likely the record’s most memorable moment. Nightmares of the West takes what Strike Anywhere does best and adds subtle contemporary influences. It also manages to capture the immense energy of their live shows, which is no easy feat. Hopefully the wait won’t be too long before they’re back with a new full-length.

Red Scare – Release Date: 7/10/20

Earlier this month, Broadway Calls released their fourth album and first for Red Scare, called Sad in the City. Despite it being over seven years since their last full-length came out, it doesn’t sound like they ever took a significant break. Rather, they seem nothing short of revitalized on this record. The first song, “Never Take Us Alive,” opens with the line “If my country collapses, can I crash on your couch?” This really sets the tone for the rest of the album, as many of the lyrics address the chaos and uncertainties of 2020. The song also features a defiant message and a huge chorus, making it an appropriate opening track.

The second entry, “You Gotta Know,” is exceptionally catchy, with big vocal hooks and buzzing power chords. It also has a spacey, instrumental breakdown in the middle that slowly builds in intensity before revisiting the chorus one last time. It then transitions directly into the title track, which begins with a melodic bass lead and lyrics that speak of wealth inequality. It truly describes what it feels like to be persevering through this year and culminates in the following words: “Will we ever get by again? Will we ever get high again? Do you even want to try again?” This song certainly encompasses the overall vibe and it’s fitting that the record is named after it.

“Always on the Run” is a straightforward pop punk song, but the band is able to make it sound fresh and spirited. It also contains a super-catchy vocal melody that’s reminiscent of The Ramones. “Meet Me on the Moon” is a concise love song and another definite highlight. It talks of escapism and dreams of a better reality, and that will likely be highly relatable to a majority of listeners. The album concludes with “Went Dyin’,” a slower, atmospheric entry that employs unconventional rhythms to create a unique style. Its words acknowledge all the negativity in today’s world, but refuse to give in and allow it to be a defining characteristic. Without question, conveying a resilient message such as this is a great way to end the record.

Sad in the City is solid throughout and lyrically speaking, really captures this moment in time. Its recording is clear, but not too polished and accurately depicts what the band sounds like in a live setting. In short, fans of melodic punk will find just about everything they’re looking for on this album.

Epitaph – Release Date: 5/08/20

Last month, Fake Names released their debut full-length via Epitaph. The band’s lineup features Dennis Lyxzén, (Refused, International Noise Conspiracy) Brian Baker, (Bad Religion, Minor Threat) Johnny Temple, (Girls Against Boys) and Michael Hampton, (S.O.A.). While many will be quick to label them a supergroup, what’s different about Fake Names is that its members share a natural chemistry and their songwriting doesn’t seem forced. One of the first entries that stands out is “Being Them,” as it combines old school punk with contemporary influences. It also features a sprawling chorus and lyrics that champion free thought and oppose conforming to society’s standards. “Brick” begins with a fiery riff and an aggressive verse before a hyper-melodic chorus emerges unexpectedly. Its lyrics are rather timely in that they talk of revolution, (“You will fall like never before / Statues crumble, backs against the wall / You will pay for what you’ve done / Gonna destroy what you’ve become”). Despite clocking in at under two minutes, it’s easily one of the album’s most memorable songs.

“First Everlasting” spotlights the range and command of Lyxzén’s voice and includes a sing-a-long chorus that’s reinforced with multiple backing vocals. “This Is Nothing” embraces more of a post-punk style, with a plodding verse and a distorted bass lead. Its words provide a critique of consumerism and denounce the shallow aspects of today’s culture. The record ends on “Lost Cause,” an overtly catchy song with a driving beat and prominent melodic guitar leads. It concludes the album on a fitting note, with a positive message of not giving up and holding true to one’s beliefs.

Without question, this is a concise and solid debut. Its overall theme of questioning longstanding institutions and societal norms is extremely appropriate right now. Here’s to hoping there’s more to come from Fake Names and that this record is not just a one-off experiment.

Red Scare – Release Date: 3/27/20

Solo folk/punker Sam Russo returns with his third full-length, Back to the Party, from Red Scare Industries. It’s been five years since we’ve heard new music from Sam and the title has me wondering if it’s a double entendre. Is this a return or does he have his back turned? Eagerly listening, Russo introduces himself gradually, with a somber cello at first, a building electric guitar and then switches to his trusty rhythmic acoustic chords. He contends with his own stagnation and breaks through his familiar parameters to reach for something more. But it isn’t always easy or feasible, and “The Window” successfully conveys this. It is only appropriate that this melodic song, laden with hooks, is the album’s highlighted single via music video.

Russo visits familiar motifs to his songwriting such as reconciliation and leaving, in “Good and Gone.” At his August 29th show at the GMan Tavern in Chicago, he laughingly clarified that the line, “and you can tell Ray I said fuck you / He can stick his job up his ass,” is not in fact about Ray Carlisle from Teenage Bottlerocket. His sincerity is cut with a crass brazenness, making sure the most serious of songs remain unpretentious and honest. “Darkness” serves as something of an interlude; the album’s shortest song with no chorus. Almost dreamlike, Russo laments in solitude, but not just physically. Rather, he recalls drowning as your friends surround you, and none of them notice. This is a sobering track of solemnity; evocative and deeply personal.

I believe one of the greatest songwriting talents a musician is capable of is the ability to vividly walk the listener through a lived scenario, so that we may experience it with every bit of detail as they did. Russo surrenders to that honest candor and achieves this. In “Anne,” the protagonist takes off on a train and the listener is taken on a lonesome, teary-eyed walk up the station’s stairs, feeling the freezing weather and chilling winds – a complement to the profoundly emotional lyrics. Who the hell is she? The second single is the album’s closer, “The Basement.” Russo ebbs and flows as he emotes, trading off between softly and loudly, and channeling a pop punk energy thus far unique to his songwriting style.

Back to the Party is an empath’s breath of fresh air. Russo delves deep into himself and does not wrap it up with a bow. Alas, I’m left wondering about the double entendre.

– Jason Duarte

Lamont Records – Release Date: 2/07/20

In February of this year, Chicago trio Mammals released their latest single, titled Look Around You. The record demonstrates the band’s ability to continually evolve their sound and develop their shared musical chemistry. The title track is up first and it begins with an extended instrumental intro. A modern garage rock vibe takes shape during the verse before transitioning to an upbeat, driving chorus. Its lyrics talk about trying to be present in the moment and the song appropriately concludes with the band rocking out. The next entry, “In the Darkness,” features a power pop intro that quickly shifts to a moody verse with echoed vocals. The tone of its lyrics complements the spooky style of music and there’s a definite influence of ‘60s rock ‘n’ roll too. The song represents a stylistic curveball that’s unexpected yet certainly effective. For the third and final track, “Expanding Heart,” Mammals likely saved the best for last. It’s a fast paced, punk-leaning tune with a distinctive vocal melody in the chorus. The drumming involves various imaginative rhythms and there’s a noteworthy bass solo towards the midway point. The song demands repeat listens and leaves the listener wanting more, which frankly is how it should be. Look Around You not only shows a lot of promise, but also contains what are arguably the band’s best songs yet. Take a listen to the EP below and grab a copy via Bandcamp.

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Fat Wreck Chords – Release Date: 3/27/20

Last Friday, The Suicide Machines released their first album in 15 years and first for Fat Wreck Chords, called Revolution Spring. The band originally disbanded in 2006, but got back together in 2009 and have been playing shows sporadically ever since. They waited until they found the right inspiration to start writing songs and their patience more than paid off, as this record is easily among the best in their entire catalog. The first track, “Bully in Blue,” is an ideal album opener in that it’s highly energetic and contains thought-provoking lyrics. It spotlights the hyper-speed bass skills of Rich Tschirhart, while addressing white privilege and police brutality. It also challenges the listener to possibly think about this topic from a different perspective. The second entry, “Awkward Always,” changes gears and features a strong ska influence. It includes clean guitar upstrokes and an off beat rhythm, and highlights the creative subtleties of drummer Ryan Vandeberghe. The song looks back on the past and recognizes that some feelings still hold true after many years.

Another definite highpoint is “Trapped in a Bomb,” which talks about a dear friend who passed away unexpectedly. The bass takes the lead during the verse and paves the way to an urgent chorus, (“I will bring you whiskey in the winter and flowers in the spring”). The song represents arguably the best vocal performance from singer Jason Navarro, with the raw emotion clearly evident in his voice. “Simple” is an uplifting sing-a-long that sounds especially relevant in times like these. It also witnesses guitarist Justin Malek put on a clinic and deliver loads of impressive guitar leads. The album concludes with “Cheers to Ya,” a classic blast of ska-punk that incorporates a horn section to provide melody over distorted power chords. The song has a pogo-inducing chorus and an overall reflective tone, which is a fitting way to end the record.

Revolution Spring takes elements from all of The Suicide Machines’ previous albums and adds contemporary touches. Its lyrics are very much in the moment and tackle some dark topics, but there’s a distinct sense of optimism that shines through. Additionally, producer Roger Lima, (singer/bassist from Less Than Jake) did an outstanding job of bringing these songs to life and really capturing the energy of their live shows. In short, this is one hell of a comeback album that finds the band sounding as though they never missed a beat.

Epitaph – Release Date: 3/19/20

Last week, Alkaline Trio released a new, three-song single, titled E.P. It was supposed to coincide with the start of a tour with Bad Religion, but with the shows postponed till fall, the band chose to go forward with the initial release date for these songs. The first entry, “Minds Like Minefields,” is led by singer/guitarist Matt Skiba and begins with ominous, echoed vocals. A rhythmic verse soon emerges, not unlike the style of their 1999 EP, I Lied My Face Off. It quickly pivots to a double-time chorus before eventually landing at an instrumental interlude. This section features ghostly backing vocals and sparse piano accents, and ultimately returns to the breakneck pace of the chorus. Overall, it’s not a typical song structure, but it illustrates how the band is freely exploring new territories and seemingly having a lot of fun while doing so.

Singer/bassist Dan Andriano takes the lead on the next song, “Radio Violence,” which sounds like a natural progression from his most recent solo LP, Party Adjacent. It finds him singing over relaxed, melodic guitar leads that easily transition to a driving chorus with layered backing vocals. It’s concisely-written and includes lyrics that talk about persevering through a tough situation, and clearly that’s something most everyone can relate to nowadays. The third and final song, “Smokestack,” is entirely acoustic and also sung by Andriano. It’s reminiscent of Tuesday, his band prior to Alkaline Trio, with lyrics that look back on his teenage years, (“Do you really believe that didn’t mean anything? / Do you really believe those days didn’t mean a thing? / Cause I’m still believing that means everything / Do you really believe those days didn’t mean a thing? / Cause I sure don’t / You made my life / You changed my life”). There’s a definite beauty in the straightforwardness of these words, which helps to make the song instantly memorable after just one listen.

With E.P., Alkaline Trio is continuing on the trajectory they’ve established since the release of their excellent and most recent full-length, Is This Thing Cursed? These three songs harken back to the band’s roots, recalling a time when they embraced more spontaneity and a carefree attitude. If E.P. is any indication as to where Alkaline Trio is headed with their next album, then fans should absolutely be excited.

Fat Wreck Chords – Release Date: 3/13/20

Earlier this month, The Bombpops released their second full-length on Fat Wreck Chords, called Death in Venice Beach. It finds the band taking a noticeable step forward, both in terms of the songwriting and their performances. One of the early highlights is “Zero Remorse,” which features dark imagery in its lyrics and is somewhat reminiscent of Crimson-era Alkaline Trio. It also offers a unique vocal melody during its chorus and subtle intricacies with the bass lines and drum fills. “Notre Dame” begins with a cool bass intro before segueing to some classic West Coast punk stylings. Its lyrics talk of loss and moving on, a theme that reoccurs throughout the album. “Sad to Me” has a definite Letters to Cleo vibe and is arguably the catchiest song on the record. Its highpoint comes near the end, where it quiets to just vocals and drums before the rest of the band joins in to power through the chorus one last time. In short, it’s a perfect summertime pop song.

“Can’t Come Clean” is an upbeat, punk-leaning track, complete with buzzsaw guitars and impressive vocal harmonies. It also includes a brief keyboard part that recalls Bark Like a Dog-era Screeching Weasel. “13 Stories Down” is a total sing-a-long that somehow manages to teleport the listener directly to a beach on the Pacific Ocean. It boasts a galloping beat, great melodic guitar work and even a dash of humor, (“I’m not an alcoholic, I just play one on the weekends”). “Radio Silence” is filled with hooks and incorporates some doo-wop backing vocals, while album closer “Southbound Stranger” charges out of the gate with a rhythm like a runaway train. In fitting fashion, its lyrics speak of an unknown future, but also accepting the uncertainly that lies ahead.

A variety of influences are displayed throughout Death in Venice Beach, but The Bombpops manage to bring them all together and create a distinctive style. Additionally, the record sounds phenomenal, thanks to the collaboration of producers Yotam Ben Horin, (Useless ID) Fat Mike, (NOFX) and Chris Fogal, (The Gamits). Not only is this a solid album with many strong songs, it’s also exceptionally catchy and proof that The Bombpops are definitely a band on the rise.

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Spinefarm Records – Release Date: 1/17/20

In January, Anti-Flag released their twelfth studio album, titled 20/20 Vision. Compared to their previous full-lengths, this record is unique in that it directly addresses the current president. In the past they’ve favored a less specified approach, as the topics they write about often reoccur throughout different administrations. However, given today’s unprecedented political climate, it’s easy to understand why they chose this route.

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