Red Scare – Release Date: 12/13/19

Last month, The Reaganomics released their first album since 2011 and second for Red Scare, called The Aging Punk. The band is known for their humorous lyrics and proficient musicianship, and both of these traits are found in abundance on this record. The first song, “The Four Clichés,” pokes fun at many of the current trends in the punk rock community, (“I wanna write a good punk song this year / I need to find out what is hip / If I want to write a punk song this year / I better start with the generic shit”). It features dueling melodic guitar leads in its closing minute and also finds the band directing their humor inward, proving they don’t take themselves too seriously. “Dear Jaymez,” as in James Hetfield, is an ode to Metallica that many longtime metal fans are sure to relate to. It mocks some of the group’s flawed albums like Reload and St. Anger, and also boasts a lightning-fast, intricate guitar solo that would likely make Kirk Hammett proud. The song even manages to end with a thrashy outro that recalls the stylings of Metallica’s classic first four records. “Grown Ass Man” is one of album’s funniest tracks, addressing midlife crisis with a menacing bass line and an old school punk vibe. The song just might be all too applicable for those who prefer standing in the back during shows, (“I’m busting out of my jeans / My hairline recedes / There’s a growth on my back and a crick in my knees”). Another notable entry is “Summer Maiden,” which tells the tale of a group of friends who go to see Iron Maiden in the suburbs of Chicago. It includes some of the record’s best guitar leads and strongest drumming, culminating in a full display of this foursome’s love of metal. The Aging Punk finds The Reaganomics significantly surpassing their previous work, both in terms of their songwriting and performances. Producer Dan Tinkler also did an excellent job behind the boards, providing a clean yet powerful recording. Fans of Chicago punk, ‘80s metal or Andrew W.K. shouldn’t delay in checking out this album.

Epitaph – Release Date: 10/04/19

On their previous album, 2017’s After the Party, The Menzingers made significant strides in evolving their sound and advancing their songwriting. With Hello Exile, they’ve raised the bar again, a feat that most bands rarely accomplish. In short, they remain committed to breaking new ground and are remarkably consistent and successful in doing so. The record begins with “America (You’re Freaking Me Out),” which is undeniably one of the strongest songs they’ve ever written. While not overtly political, it really captures what it feels like to be living in America right now and also features a huge yet seemingly unforced chorus. “Strangers Forever” presents a unique, alternating rhythm and lyrics that address a dissolved relationship. The back and forth nature of the tempo mimics the conflicting emotions that often occur in situations such as this. Additionally, the song is a great example of their continued growth with crafting layered and intricate arrangements.

“Portland” is one of the more upbeat songs on the album, with numerous melodic guitar leads present throughout. It’s catchy without being predictable and includes a rousing, shout-along chorus. “Strain Your Memory” examines a relationship at a crossroads and contains some of the record’s most heartfelt lyrics. It’s mature, slightly suggestive of late ‘70s Tom Petty and seems much shorter than its actual duration of four minutes. Without question, it’s one of the top songs on Hello Exile. Another noteworthy track is “Strawberry Mansion,” a somewhat throwback to their earlier sound that embraces a subtle Clash influence.

The album is brought to a close with “Farewell Youth,” a somber entry that details the passing of a close friend. In many ways, it’s the perfect album closer as it represents a letting go of the past while simultaneously looking to the future. This same feeling is reflected in the evolution that The Menzingers continually display on Hello Exile. The end result is not only their most adult record to date, but also one of their most comprehensive.

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Red Scare – Release Date: 6/21/19

Earlier this summer, Billy Liar released his debut album via Red Scare, called Some Legacy. With the record primarily being a full band affair, Liar demonstrates that he’s capable of more than the typical singer/songwriter. He routinely displays his ability to put together unpredictable arrangements and craft unique vocal melodies. The first song, “The View from Here,” is just one example of this. It’s a rousing sing-a-long that contrasts an upbeat rhythm with lyrics that are slightly self-deprecating. One could easily envision Liar playing this song in a packed club with a sweaty, beer-soaked crowd screaming the words back at him. “The Righteous & The Rats” is a topical song about borders and how society’s problems repeat throughout history. With Liar hailing from Scotland, this song clearly isn’t sung from an American perspective and instead has more of a universal appeal. “Pills” might be the album’s catchiest track, as it features a huge chorus that seemingly comes out of nowhere, but transitions in a manner that’s natural and not forced. The song also has somewhat of a loose and reckless feel, sounding like it could go off the rails at any moment, but never does. “Change” is the record’s fastest and most aggressive song, with Liar shouting, “I want see your blood spilled on the stage / I want hear your heart beat through the PA / I want to hear true adolescent rage / I want to be inspired, I want to see something change.” Despite him being seemingly disillusioned with contemporary music, listeners who might feel the same are sure to find plenty of inspiration on this album. Some Legacy was produced by Joe McMahon, (Smoke or Fire) and his influence only helps to solidify what is a decidedly complete debut. In many ways, this is a promising and distinctive record, and it should be very interesting to see where Liar goes from here.

Take This To Heart Records – Release Date: 6/21/19

Milwaukee’s Telethon released their latest album and fourth overall last month, called Hard Pop. The record spotlights the band’s exceptional musicianship and their ability to seamlessly merge various styles and genres. At their core, Telethon is a power pop band, with influences ranging from The Hold Steady to Motion City Soundtrack, and a trace of classic rock extravagance. In short, Hard Pop is a great summertime album and one that finds the band further perfecting their sound.

The record opens with “Loser / That Old Private Hell,” a six-minute rock opera that even after dozens of listens only seems about half that long. It starts with the line, “The magic of being a loser is that nobody has to find out,” which really sets the tone for the rest of the album’s lyrics, (an ongoing discussion of what it’s like growing up in the Midwest). A subdued intro gives way to a huge, ‘70s stadium rock guitar lead, followed by piano accents and skillful drumming that recall Born to Run-era Springsteen. The song is filled with hooks, but also retains a significant amount of driving rock ‘n’ roll. Simply put, it’s as ambitious as it is catchy. It’s followed by “(I Guess You’d Call It) An Undertone,” a unique song that features a swing-like rhythm, a horn section and crunchy guitar riffs. There’s also an element of ‘80s pop and from a stylistic standpoint, this is just something that not a lot of bands are doing nowadays. Additionally, near the end of the song, a jaw-dropping guitar solo emerges that would likely impress anyone outside of maybe Slash or Eddie Van Halen.

“Chimney Rock” is one of the record’s faster tracks and includes a prominent keyboard lead. It boasts a notable guest vocal cameo from Willow Hawks, (singer of The Sonder Bombs) and yet another blistering guitar solo. It’s also an example of the band successfully experimenting with loud/soft dynamics, which only helps to emphasize the song’s finer moments. The album ends with “Manila,” a somber closer that evokes both The Beatles and The Get Up Kids. It flips between genres, but never sounds disjointed and even manages to incorporate a ska/punk breakdown. The song eventually finds its way back to melodic rock ‘n’ roll and sing-a-long vocals, appropriately ending on one final riff.

With Hard Pop, Telethon has streamlined their sound without sacrificing any of the distinctive traits that make them great. They remain quirky, diverse and unafraid to experiment, yet there’s now more of a focus on cohesion and overall execution. They’re currently one of the most underrated bands in independent rock, but with any luck Hard Pop will allow them to attract a wider audience.

Self-released – Release Date: 4/24/19

Too punk for folk and far too folky for punk; Canyon Sounds’ self-titled debut album thrusts itself between genres, offering the impression that the band members have been at it for some time. Individually, they have. Singer/guitarist James Reineking and drummer Jason Plane have also been playing together for more than a decade and recorded the album themselves.

This Boulder-based quartet is both sonically and thematically diverse on its new record. Multiple lead and slide guitar tracks weave a sonic tapestry throughout the album. Furthermore, Reineking doesn’t say anything he doesn’t need to. He lets the mood talk. The album’s opener, “Cuts,” sets a precedent for their debut album. The melody starts modest and simple; swinging back and forth between G and C chords: “Well I’m spitting up the same old shit / I’m making points you know I’ve made before / I’m regurgitated guts on refinished hardwood floors.” The next track, “The Painter,” is a song about hindsight and the unknown. The man in the picture is searching for something, staring down a road. Reineking speculates the man in the painting is at ease being all alone and thinks perhaps he already has all he’ll ever have. One certainty is reached at the end of the song: he should’ve been a painter.

There’s a sense of distraught and reckoning on “Put It to Bed,” a song about moving forward and moving on. The protagonist is tired and at the end of his rope, yet he retains patience. The track is a standout; it marks the end of a relationship and a new beginning. The album’s closer, “Waning Moon,” takes a reflective stance and carries the forward-marching theme woven into this album. “I was told that I could do anything / and anything’s what I intend to find / You say I’m a waning moon, but what does that makes you?” Recommended for fans of Sundowner, Chuck Ragan, Paul Westerberg.

– Jason Duarte

Rise Records – Release Date: 4/12/19

With Kick, his fourth solo LP and third for Rise Records, Dave Hause defies the notion that singer/songwriters often run out of gas this deep into their careers. Rather, Kick represents arguably his strongest and most inspired record yet. It begins with “Eye Aye I,” a reflective call to arms that sets the scene for the rest of the album. The song contrasts a youthful mindset with a weary worldview, and all the while highlights the vocal talents of Hause. It naturally transitions to “The Ditch,” a streamlined, melodic rocker that emphasizes what Hause does best. It’s powered by the guitar work of Tim Hause and its lyrics address the challenges of living in today’s political climate. If there’s a single underlying message found here, it’s one of perseverance and resolve. “Saboteurs” is a mid-tempo entry that evokes a Tom Petty vibe and slowly unfolds to an expansive chorus. It deals with striving for change and standing up for what’s right, and also includes the line “We’ll kick against the tide,” (an obvious nod to the record’s title).

One of the album’s most ambitious songs is “Warpaint,” where Hause examines how many women in this country likely feel after the presidential election of 2016. He sings, “You’ve got your keys between your fingers / As if you had a choice / Keep your keys between your fingers / Your mother’s blood in your voice,” while female gospel singers echo, “No mercy in a man’s world.” It’s as effective as it is emotional, and really strikes a topical nerve. The mood lightens with “Fireflies,” easily one of the most beautiful songs that Hause has ever written. It looks back on simpler times, reminiscing about young love without real world problems and a desire to recapture those feelings. Another highpoint is “Paradise,” a rousing, Springsteen-infused track that would seemingly be great in a live setting. It has an unrelenting pace that only slows for a brief piano interlude before returning to the fiery chorus.

The record concludes with “Bearing Down,” which discusses mental health and dark feelings that can at times be overwhelming, but are ultimately outweighed by joyful thoughts of family and those who motivate us to keep moving forward. It’s very much a welcomed light at the end of the tunnel and a perfect way to end the album. Kick represents a complete work that contains thoughtful songwriting and lyrics that deliver a message of optimism during turbulent times. Hause continues to evolve as a songwriter, thanks in part to the expanded role of his brother Tim, culminating in an album that clearly surpasses his previous output.

Self-released – Release Date: 1/25/19

Last month, AM Taxi released their first new music in over two years and their first full-length since 2010, called Shiver by Me. Recorded by Joe Gac and Shane Hendrickson, and mixed by Sean O’Keefe, the album captures the energy of the band’s live shows and takes elements of their past work and pushes it forward. The record gets underway with “Saint Jane,” an energetic opening track that’s propelled by the skillful bass lines of Jason Schultejann. Its lyrics are slightly self-deprecating, but also talk about making the best of a bad situation. “Harpoon” utilizes a unique back-and-forth tempo to establish its mood, while guitarist Jay Marino delivers an inventive solo that likely represents the album’s best lead guitar work. “Movie About Your Life” is one of the most accessible songs here, with an acoustic intro that naturally transitions to an exceptionally catchy chorus. Its message urges listeners to lead a passion-filled existence, (“If they made a movie about your life, would anybody see it twice? / Are the characters and the plot worth the ticket price?”). At the midway point, a subtle electric guitar lead emerges, welcoming the rest of band to join in and spotlighting the talents of drummer Chris Smith. The whole group goes through the chorus one last time before ending the song at the perfect spot, leaving the listener wanting just a little more.

“Stuck Around” is an up-tempo, Springsteen-esque rocker, led by the urgent and assured vocals of singer/guitarist Adam Krier. Of all the songs on Shiver by Me, it’s probably most similar to their first record, but sounds like more of a natural progression from that point. “Shaken over You” is arguably the most ambitious song on the album, complete with a danceable rhythm, piano accents and creative songwriting. There’s also trombone and saxophone parts included, which are reminiscent of Pleased to Meet Me-era Replacements. The record concludes with “Warsaw Blues,” a somber track that laments a strained relationship, (“Warsaw Blues and the rhythm holds you tight / the melody was there but the timing wasn’t right”). Former members Luke Schmitt, (keyboards and backing vocals) and John Schmitt, (backing vocals) lend a hand to help solidify this climactic closing song.

Shiver by Me contains elements of punk, classic rock and power pop, but it’s really the impressive songwriting and musicianship that shine through most. There’s also plenty of diversity amongst these songs, most of which feature big hooks that were seemingly written with ease. With this album, AM Taxi has taken a significant step forward in evolving their sound. They’ve also produced a collection of songs that are tailor-made for live shows, a setting where this band is at its best.

Wiretap Records – Release Date: 1/11/19

On their debut full-length, Radar State simply exceeds any expectations that one might have had for this album. For those unfamiliar with the band, their lineup includes Matt Pryor and Jim Suptic of The Get Up Kids, Josh Berwanger of The Anniversary, and Adam Phillips of The Architects. While the influence of the aforementioned acts can’t be denied, it’s important to note that Radar State is very much its own unique band, and one that’s far more interested in creating something new than it is rehashing the past. The record fittingly opens with the title track, which highlights Pryor’s signature vocal style and delivers a chorus that’s instantly memorable. “Anywhere” is another quality entry, packed with melodic guitar leads and a sing-along chorus courtesy of Berwanger. “Making Me Feel” finds Suptic assuming lead vocals for what is one of the album’s more pop-influenced songs. It’s not only cleverly written, but also sounds radio-friendly without being contrived.

“Self Hurt Guru” appears towards the middle of the record and with its blistering pace is easily the fastest song found on Strays. Pryor is back on lead vocals for this track, which features dueling guitar leads during the verses and gang vocals in the chorus. Simply put, it’s one of the most up-tempo and fun entries on the album. The pace slows a bit on the next song, “Artificial Love,” a more traditional rock ‘n’ roll number with a slight Tom Petty influence. The call and response vocals during its chorus and the inventive rhythms of drummer Adam Phillips help to solidify this as one of Strays’ strongest tracks. Towards the latter part of the record, three of the most noteworthy songs can be found. “Good Catholic” addresses those who twist religion to fit their own distorted and hateful agendas, (and simultaneously sounds like a sped-up version of The Get Up Kids). “Leather Dye” has a distinct ‘80s rock vibe and boasts one of the album’s catchiest choruses, while “Victims of Fashion” offers arguably Strays’ best guitar solo, complete with Eddie Van Halen finger-tapping.

This record is very much a complete work that incorporates a variety of genres in its overall sound. Compared to the members’ previous bands, Radar State embraces more of a punk-leaning, straight-ahead rock ‘n’ roll approach. Having three singer-songwriters is also a definite advantage, especially when they’re not trying to outshine one another and instead just do what’s best for each song, (as is the case here). In short, Strays is a quality album from start to finish, with first-rate musicianship displayed throughout.

Catch Radar State w/ Archie Powell & The Exports and Wet Tropics on 2/2/19 at Cobra Lounge.

Tiny Engines – Release Date: 9/28/18

Within seconds of listening to the opening track on LP5000, it’s plainly evident that Restorations have found a new sense of focus and made significant strides since their last full-length. And that’s not to say anything derogatory about their previous work. Rather, this album is simply confirmation of a really good band turning the corner and becoming great. The first song, “St.,” establishes a mood of disillusion and disconnect that’s present throughout, yet there’s also a sense of resistance that’s never too far out of reach. Singer/guitarist Jon Loudon’s vocals are nothing short of commanding, leading the charge of an empathetic chorus, “I’ll tell you what you already know / Can’t do this all on your own.” “Nonbeliever” deals with the inevitable ways in which relationships change over time, as well as societal changes that are perhaps unavoidable too. It features interwoven guitar leads and inventive rhythms, both of which collaborate to make for one of the record’s most memorable tracks. “The Red Door” is an indie rock-leaning entry that’s exceedingly catchy, but in a manner that’s unique and unpredictable. It addresses the ongoing gentrification in the band’s hometown of Philadelphia, a theme that surfaces multiple times on the record.

The production, courtesy of Jon Low, (The National, Frightened Rabbit) draws attention to the subtleties of the songwriting, while simultaneously making complex arrangements sound effortless. And as much as LP5000 is about Restorations reaching their apex, it’s also centered on observations, both in terms personal connections and what it’s like to be living in today’s America. In that sense it’s very much rooted in the present, yet this record is also somewhat timeless as it’s one of the best examples of anthemic rock ‘n’ roll to come along in years.

Fat Wreck Chords – Release Date: 8/31/18

With Peace and Love, Swingin’ Utters continue to defy the notion that long-running bands can’t compose songs that are on par or better than their early material. Since returning from a seven-year hiatus in 2010, Swingin’ Utters have repeatedly challenged that perception, with Peace and Love likely being the strongest of their recent output. One reason for this is the latest additions to their lineup. Bassist Tony Teixeira and drummer Luke Ray represent the new rhythm section, and some will no doubt recognize them as members of Cobra Skulls. Their involvement adds layers of new influences and an energetic spirit that can’t be overlooked. Guitarist/singer Jack Dalrymple, (Dead To Me, One Many Army, toyGuitar) has been part of the group since 2006 and continues to lend his talents in a variety of areas, while singer Johnny “Peebucks” Bonnel and guitarist/singer Darius Koski represent the unwavering founding members.

Despite its title of Peace and Love, this is perhaps Swingin’ Utters’ most political record to date. According to Koski, “We don’t generally write very pointedly political songs. We tend to be a little more vague and abstract. But this one is pretty pointedly disgusted and pissed off and really directly attacking these fuckin’ people in office.” For further evidence, reference the song “Yes I Hope He Dies.” Another interesting aspect of this album is the fact that many of its best songs are found on the second half, including “Demons of Springtime,” “Human Potential” and “Drinkist.” The record concludes with “H.L.S.,” a touching tribute penned by Dalrymple for his One Many Army bandmate Heiko Schrepel, who passed away in 2015. It begins with only acoustic guitar and Dalrymple’s vocals, which are equally chilling and beautiful, before the rest of the band kicks in, providing both a fitting end to the song and the album.

Peace and Love straddles the line between old school punk and contemporary inspirations. It’s filled with vigor, angst and a notable level of musicianship. It also benefits from the production of Grammy-winning engineer Chris Dugan, (Green Day, Iggy Pop). Whether you’re a longtime fan or relatively unfamiliar with the band, you owe it to yourself to check this out now.

Asian Man Records – Release Date: 8/24/18

Next month, Ogikubo Station will release their debut full-length, called We Can Pretend Like. The band features Maura Weaver, (Mixtapes) and Mike Park, (Skankin’ Pickle, The Chinkees). While not sounding particularly similar to the aforementioned groups, this project is likely to be eagerly received by fans of heartfelt, melodic indie rock. The album begins with “I’ve Been Thinking of St. Louis,” a track that does an excellent job of setting the tone for what’s to follow. Its sparse arrangement allows for Weaver’s exceptional vocal performance to really shine through and highlight the lyrics, which alternate between a sense of reflection and an eye on the future, (a theme found throughout the record). The next song, “Take a Piece of All That’s Good,” is more of a full band effort and decidedly catchy without overtly trying to be. It includes a driving rhythm and dual vocals, and recalls a past relationship in hopes of making sense of what dissolved. “Drowning at the Watering Hole” is infectiously poppy, packed with ‘80s keyboards and sounds like a mix of The Cars and The Get Up Kids. It talks of missing an old friend when in unfamiliar surroundings and a desire to let that person know you still care.

The title track takes a softer and more acoustic-based turn, with vulnerable vocals that reflect the sensitive nature of the lyrics. Weaver sings, “If you stand still, nothing will change / When you can’t let go, it’ll eat you whole,” and with these words she seemingly captures what’s at the heart of this record. On “Strong as You,” Park assumes lead vocals and delivers a very personal and somber account of his father’s battle with cancer. It seamlessly transitions into “Weak Souls Walk Around Here,” a rock-tinged entry that contains some of Park’s strongest vocals and arguably the album’s most memorable chorus. The record appropriately wraps up with “Let the World Know,” a song that turns its gaze outward, examining the current landscape and calling for change. In times such as these, a desire for positivity, compassion and a better existence is something that likely resonates with nearly everyone.

With We Can Pretend Like, Ogikubo Station has produced a collection of songs that vary in style, yet also maintain a sense of cohesion. On the surface, the songwriting is rather straightforward and unforced, but multiple listens reveal layers of detail and intricacies. There’s an emphasis on unique vocal arrangements and earnest lyrics, which help to form the foundation of what is a very promising and complete album. For those wanting to get in on the ground floor, you can preorder the record here.

Fat Wreck Chords – Release Date: 6/15/18

This Friday, The Mad Caddies are set to release an album consisting of their own unique interpretations of punk songs, aptly titled Punk Rocksteady. Selections from some of the biggest names in punk are included, but they’re completely reimagined with prominent influences of ska, reggae, two-tone and more. Kicking off the record is the Bad Religion hit “Sorrow,” and this version features a piano intro, echoed vocals that highlight the story of a father-son relationship, and numerous organ melodies. It’s hard to imagine a ska-heavy rendition of this song being able to retain the somber mood of the original, but this one does just that and in a manner that’s completely distinctive. Green Day’s “She” is another notable entry and this adaption has a breezy, laidback vibe and a skillfully-crafted guitar solo. Propagandhi’s “…And We Thought Nation States Were a Bad Idea” is up next and its offbeat rhythm helps to emphasize the overtly political lyrics, while an abundance of backing vocals in the chorus serves to further reinforce the main theme. Lagwagon’s “Alien 8” is perhaps the most horn-driven track on the album, and Bracket’s “2RAK005” just might be the record’s catchiest song, showcasing the vocal talents of singer Chuck Robertson. Also included are covers of Operation Ivy, The Misfits, Against Me!, Descendents and more. Simply put, Punk Rocksteady has arrived just in time for summer. It makes for great driving music and would appeal equally to longtime fans of The Mad Caddies or punk aficionados looking for new renderings of their favorite jams.

Fat Wreck Chords – Release Date: 3/30/18

The Lawrence Arms (TLA) need no introduction. Rather, I’d like to emphasize that the band has evolved with an impressive consistency since 1999; including writing and musicianship, down to its primary engineer through the years: Matt Allison of Atlas Studios. A steady captain behind the scenes gives the recording quality and process a consistency of its own. The trio comprised of bassist/vocalist Brendan Kelly, guitarist/vocalist Chris McCaughan and drummer Neil Hennessy hand-picked 29 songs to showcase on its new best-of collection titled, We Are the Champions of the World.

Of the 29 tracks, 24 were culled from the band’s prolific discography – an evenly distributed retrospective spread, providing existing fans with the ultimate TLA mixtape, while simultaneously creating a perfect pool of songs for those just jumping in. The biggest perk of this release are the five previously unreleased tracks featured on this collection, all taken from the 2006 Oh! Calcutta! sessions, recorded at Atlas Studios in Chicago.

The tracks were scrapped because they “just didn’t fit in the structure of that album, which ended up being very focused and thematic,” Kelly said. “I hadn’t heard these songs in over 10 years,” McCaughan said. “I’d basically forgotten they existed at all, so listening back to a few of them was initially like stepping into some strange portal.”

“The Rabbit and the Rooster” was featured as an iTunes bonus track to O!C! It’s an anthemic, triumphant song that almost-comically borrows its bridge from Cher’s “If I Could Turn Back Time.” It’s an unapologetically upbeat tune about living for today, with plenty of nods to drinking and paying no mind to regret.

“Catalog” is short and fast, over before the 1:30 mark. Kelly and McCaughan trade vocal duties on this one. Interestingly, this was the first song Kelly wrote for the O!C! sessions. For a demo, the quality is superb.

McCaughan’s “Black Snow” is perhaps the most dynamic of the unreleased tracks. Backing vocals were never added, and it was abandoned about halfway through its completion. It captures much of what McCaughan felt in 2005 in Chicago. Thematically and sonically, it’s restless and echoes a Holden Caulfield-esque perspective. “I need a better way, another day, a different time/This liquor sheen smiles in my eyes/I’m searching for an anchor in this empty night/Walking home on the same street/it never used to look like this/the skeletons are secretly living in all these condominiums.”

“Laugh Out Loud” was another one of the earlier songs written for the O!C! sessions by McCaughan and exists now only as a demo. “It’s so easy to be jaded,” he sings. “Warped Summer Extravaganza (Turbo Excellent)” is a much faster take of the song that made the cut on O!C! This perhaps is the fastest song TLA has in its catalog, and it’s a perfectly succinct track to end the retrospective on, bringing it full circle in a way.

– Jason Duarte

Red Scare – Release Date: 3/09/18

Marking their first official release in nearly three years, SkyTigers finds Red City Radio embracing a multitude of new influences to further hone their signature sound. Recorded by Mike Kennerty, (The All-American Rejects) and mixed by Matt Allison, (Alkaline Trio, The Lawrence Arms) the EP not only sounds phenomenal, but also highlights the subtleties found within the detailed songwriting. “If You Want Blood…” is the leadoff track and it contains many of the characteristics found throughout this collection of songs: layered backing vocals, blistering guitar solos and an underlying sense of self-empowerment. “I’ll Still Be Around” opens with a slight country vibe and piano accents, not unlike frontman Garrett Dale’s solo EP from last year, before the rest of the band comes in and provides a sturdy framework that spotlights the talented rhythm section. “In the Shadows” is an ominous rocker that recalls 80’s metal and boasts the record’s most intricate guitar leads, while “Rebels” is a defiant, melodic anthem that’s sure to elicit significant crowd response when played live. With the title track, RCR has managed to craft a uniquely structured six-minute entry that champions positivity. It’s largely built around a piece of dialogue from the 1940 film The Great Dictator, reinforcing a message of inclusion and persistence, which seems especially relevant nowadays. SkyTigers sees Red City Radio further differentiate themselves from their peers with topnotch musicianship and the merging of multiple genres. These five songs represent a new era for the band and should leave fans anxiously awaiting their next full-length.

Underground Communiqué Records – Release Date: 9/29/17

Detroit’s Rebel Spies recently released their debut full-length on Underground Communiqué, called Rise! Featuring members of The Suicide Machines, Hellmouth and Telegraph, Rebel Spies’ sound isn’t especially reminiscent of those bands, but rather suggestive of old school punk like 7 Seconds and Dag Nasty. What’s unique is how they manage to capture the spirit of the genre’s forefathers, while remaining unpredictable and infusing contemporary influences to create something particularly distinct. Album opener “That Mask” is a rousing call to arms with a stirring chorus that quickly sets the tone for the rest of the record. It’s followed by “Sorry About the Mess,” a concise burst of energy that rallies against complacency and evokes memories of melodic hardcore greats Avail. “We Must Be Cautious” changes things up with an expansive chorus and a blazing guitar solo, while “Domain of Evil” is reminiscent of The Clash, complete with an offbeat rhythm and call and response vocals. “What Have I Done” is influenced by East Coast hardcore and encourages making a change for the better, and the album’s final track, “Not Dead Not Yet,” arguably saves the best for last. It begins with a catchy guitar lead that segues to ska-influenced upstrokes, paving the way for a soaring chorus that delivers a resilient message and reinforces the importance of not giving up. With Rise!, Rebel Spies have made a record that draws from the past as much as it incorporates modern styles. It’s well-written, skillfully performed and filled with promise.