Asian Man Records – Release Date: 10/06/17

San Jose’s Hard Girls recently released their latest album on Asian Man Records, called Floating Now. Having spent a majority of the last several years touring with the likes of Say Anything, Modern Baseball and AJJ, it’s apparent that the time on the road has assisted in Hard Girls advancing their sound. With influences ranging from post-punk to ‘90s alternative, Floating Now is a distinctive record and one that’s further reinforced by the versatile production of Jack Shirley, (Joyce Manor, Jeff Rosenstock). Album opener “Field ‘99” uses a substantial amount of fuzz and a marching rhythm to build intensity before segueing to “Puddle of Blood,” arguably the record’s catchiest track. Sounding as though Weezer was to play a beer-soaked basement party with significantly more brawn and without all the hang-ups, “Puddle…” is a straightforward banger that improves with every listen. “Guadalupe on the Banks of the Styx” is one of the most detailed and layered songs that Hard Girls has ever written, with lyrics that address the ongoing class-divide in their hometown. It’s perhaps the best example of the band’s progression and hopefully an indication of where their music is headed in the future. “Dizzy Wizard” is a speedy, shimmering indie rock song that underscores the guitar prowess of frontman Mike Huguenor, while album closer “Running” highlights the unpredictable yet surefooted rhythm section of singer/bassist Morgan Herrell and drummer Max Feshbach. It’s really an ideal ending, complete with contemplative lyrics, unique vocal harmonies and boundless energy. Floating Now is unquestionably Hard Girls’ finest effort to date, combining first-rate songwriting with outstanding performances. It would likely appeal to any fan of melodic rock, as well as those in search of genre-defying music.

Fat Wreck Chords – Release Date: 10/13/1

Earlier this month, The Lillingtons made their Fat Wreck Chords debut by releasing their first full-length in over a decade, Stella Sapiente. Given the amount of time between albums, it’s understandable that this release incorporates new influences, and thankfully the band’s use of heavy and dark styles is a welcomed change. Their traditional pop punk tendencies have taken a backseat to metallic riffs and songs about paranormal knowledge and covert agencies. In some ways Stella Sapiente is a natural progression for The Lillingtons, but in others it’s a sizeable shift that finds the band experimenting with a new sound and ascending to previously unachieved heights.

The record opens with “Golden Dawn/Knights Templar,” an ominous song the references secret societies and employs undistorted guitar leads, really setting the mood for the rest of album. “Insect Nightmares” is one of the record’s catchiest tracks, complete with dueling guitars and a relentless pace that spotlights the rhythm section’s skills. “K6” and “Zodiac” both evoke memories of the band’s third full-length, Backchannel Broadcast, while “London Fog” features a serious guitar solo near its end that’s sure to please any fan of Iron Maiden. As the album draws to a close three of its strongest entries can be found, beginning with “The Walker.” The song starts with a pensive rhythm and haunting vocal melodies before the rest of the band comes in with blistering energy. “They Live” is the record’s fastest track and also boasts its most impressive guitar solos, (and that’s saying something). “Drawing Down the Stars” wraps up the album, bringing to mind hints of Judas Priest and effectively paying homage to thrash metal.

With Stella Sapiente, The Lillingtons have not only written the next successful chapter in their history, but more importantly laid the framework for what appears to be an exciting future. After an extended break they’ve returned and managed to reinvent themselves by creating a record that would appeal equally to fans of old school pop punk, metal or horror. Whether you haven’t listened in years or you’re completely new to the band, don’t delay in checking out this album.

Epitaph – Release Date: 9/29/17

Last week, Propagandhi released their latest full-length and seventh overall, entitled Victory Lap. The album finds the band refining the thrash-metal tendencies that have been a signature part of their sound dating back to 2005’s Potemkin City Limits, while simultaneously incorporating a hint of the melodic punk from their first two records. However, Victory Lap is not a retread in any shape or form. Instead, this album embraces sonic diversity and allows for the elevated level of musicianship to really shine through. Also, the addition of guitarist Sulynn Hago cannot be understated, as prior to her involvement Propagandhi never enjoyed such an amount of exceptional shredding.

The record begins with the title track, featuring an aggressive yet catchy riff and the thunderous drumming of Jord Samolesky. The song’s pace is unrelenting, as are its lyrics that describe a crumbling America, with its citizens attempting escape only to be trapped by the proposed border wall. As topical as this track is, so too is the next highlight, “Cop Just out of Frame,” which addresses police shootings, peaceful protests and looks inward, questioning the perspective of someone with a privileged background. The song employs galloping drums and several unique chord progressions before it segues to a metallic breakdown. It also spotlights the enhanced vocal skills of singer/guitarist Chris Hannah and bassist/singer Todd Kowalski, an aspect that’s evident throughout the album. “Failed Imagineer” seamlessly alternates between melody and aggression in a manner that most bands can only dream of achieving, while “Call Before You Dig” just might be the record’s strongest song. It uses a multitude of intricate guitar leads and rhythmic chugging to tell a tale of humans discovering the bones of an extinct species and then flashes forward, envisioning a future where ancient human bones are discovered by an alternate ruling species. The song builds to a point where the entire band is singing in unison, “That’s our universe in a nutshell,” and it’s almost impossible not to scream along with them.

Victory Lap concludes with “Adventures in Zoochosis,” a song with a quiet instrumental intro that’s interlaced with recordings of some of Trump’s most deplorable quotes from the campaign trail. This lasts for just over a minute before the band comes in, blasting like a defiant wall of sound with hard-charging riffs. The lyrics find hope for a better world in the next generation, while conceding that it might already be too late for some of us, (“You grab your little brother’s hand, run like the wind. And if I’m not there, don’t look back. Just go.”) What’s remarkable is that nearly 25 years after the release of their debut album, Propagandhi sounds just as relevant and energized as ever. Victory Lap is easily one of their best records and also one that doesn’t claim to have all the answers, so much as it aims to encourage the listener to take action in a positive manner.

Side One Dummy – Release Date: 6/23/17

On their fourth full-length, West Virginia’s Rozwell Kid has perfected their take on humor-infused power pop, complete with dueling guitar leads, an excess of pop sensibilities and crafty lyricism. While comparisons to Weezer are unavoidable, the band also shares commonalities with groups like Motion City Soundtrack and Fountains of Wayne, both of whom are known for creating an abundance of catchy and clever hooks. On Precious Art, they also add some rock ‘n’ roll swagger in the vein of The Darkness, as well as lyrics that address more substantial topics, like anxiety and a lack of confidence. The album opens with “Wendy’s Trash Can,” which employs fuzzed-out guitars and vocal harmonies reminiscent of the Beach Boys to fantasize about escaping a monotonous routine. “Boomerang” is the next notable entry and it alternates between loud and soft dynamics before segueing to one of the record’s most memorable choruses. “UHF on DVD” features impressive, skillful guitar work, as well as a seriously infectious and eccentric hook, (“And all I want is to be at home with you/Eatin’ tacos and watching UHF on DVD”). Towards the end of the album, a track called “Gameball” provides a sparse arrangement with an atmospheric vibe that speaks of alienation and individualism. With Precious Art, Rozwell Kid has made a record that’s equal parts quirky, nostalgic, high-energy and just plain fun. It offers top-notch musicianship and is easily one of the most enjoyable listens of the summer.

Red Scare Industries – Release Date: 5/26/17

Last week, Red City Radio singer/guitarist Garrett Dale released his debut solo EP, called Two Ts. Comprised of three original recordings, this record features fully-realized arrangements, as opposed to the typical punk frontman just hammering away on an acoustic guitar. These songs not only display Dale’s songwriting expertise, but also demonstrate softer vocals and something distinctly different than the gruff, sing-along punk that Red City Radio is known for. The EP opens with “2016 Was…,” which laments the loss of loved ones and the results of last year’s Presidential election. The song uses a strong folk influence, subtle guitar leads and even a trombone solo to convey its message. There’s also a sense of dry humor throughout, which really helps to lighten the otherwise serious lyrical content. “House Full of Dogs” is next and talks about the various struggles that many encounter in life, especially in regards to growing older, but how those troubles are ultimately outweighed by simple pleasures and good times with friends. The song incorporates piano and saxophone to help create a unique entry that still fits well with the other tracks. The EP concludes with “Down the Rabbit Hole,” a tune about missing home that’s extremely relatable and engaging from start to finish, despite being over five minutes long. Two Ts is recommended for fans of sincere folk/punk, as well as those wanting to hear Dale explore different musical influences. Also, the fact that he’s stretching outside of his songwriting comfort zone will likely lead to exciting results on the forthcoming Red City Radio LP.

Townstyle Records – Release Date: 4/14/17

Last month, Lucky Boys Confusion released their latest album, Stormchasers, signifying the band’s first new music in almost a decade. It’s also their first time writing songs together since the unexpected passing of founding guitarist Joe Sell in 2012. For years it remained uncertain if they’d ever attempt to create music again, but with the passage of time it became clear that it was the right thing to do, as well as something Joe would’ve wanted. As they began to write, an album started to take shape organically, resulting in a collection of 12 songs that are not only cohesive, but also contemporary and mature.

The record kicks off with “I Slept with the Devil,” a defiant anthem that’s brimming with urgency and one that’s destine to be a fan-favorite at shows. It segues nicely into “It’s After Midnight,” a moody and uniquely catchy track that’s punctuated by the sturdy bass work of Jason Schltejann and Stubhy Pandav’s impressive vocals. The near title track, “Stormchaser,” utilizes subtle reggae undertones and a driving rhythm to address Sell’s passing, while “Sun in My Eyes” employs a surplus of melodies to discuss perseverance and moving forward in a positive light. Additional high points include the engaging, sing-along chorus of “Burn a Little Brighter” and the emo-leaning “Your Friends Are Whispering,” which slowly builds to a furious hook that is likely to evoke major crowd participation in a live setting. As the album draws to a close, one of its strongest entries can be found, called “Good Luck.” Guitarist/singer Adam Krier, (AM Taxi) assumes lead vocal responsibilities for what is sure to be a top contender for one of the best songs of the summer. The track reminisces about the band’s history and talks about their motivations for soldiering on, and is all the while anchored by the inspired drumming of Ryan Fergus.

Also of note is the record’s production, courtesy of Johnny K, which serves to elevate the songs and really bring them to life. In short, Stormchasers is a massive return for a band whose future was in doubt for many years. By no means is it a rehash of their previous work. Instead, it sees the band confidently build upon their roots and move ahead with an underlying sense of resiliency and an eye on the future.

Red Scare Industries – Release Date: 2/17/17

Despite over five years elapsing since the release of the last album from Nothington, it sounds as though they never missed a beat on their latest full-length, In the End. Oftentimes when a band takes a similar hiatus, their new material sounds forced or like they’re trying to recapture a previous style. Conversely, this record breaks new ground and finds Nothington sounding focused, revitalized and demonstrating a new level of detailed songwriting. A great example of this is “The Lies I Need,” with lyrics that emphasize a strong sense of resolve and a chorus that utilizes both vocalists to create multiple layers of melody. The song also displays restraint in that there are quieter parts, but also times when the band really turns it up and pushes the tempo to accentuate their point. “Burn After Reading” is one of the catchiest entries on the album, complete with introspective lyrics and numerous melodic guitar leads, while “The Hard Way” includes a stirring rhythm and a giant chorus that features each singer exchanging lines. The title track brings the record to a close with personal and reflective lyrics, which underscore a trace of optimism that’s present throughout the album. On In the End, Nothington has crafted a collection of earnest, sing-along anthems that balance melody and aggression. The record is consistent, distinctive and one that makes a familiar and often predictable genre sound revived.

Pure Noise Records – Release Date: 2/03/17

Making their Pure Noise Records debut, Less Than Jake recently issued a seven-song EP entitled Sound the Alarm. Recorded by singer/bassist Roger Lima at his own studio and mixed by Jason Livermore at The Blasting Room, these songs sound exceptional and allow for the individual instruments to really shine through at the appropriate times. Additionally, this record signifies the most spirited that the band has sounded in over a decade, which is especially impressive considering they’re celebrating their 25^th anniversary this year. The EP gets underway with “Call to Arms,” a track that evokes memories of fan-favorite album Borders & Boundaries and employs a bouncy chorus that’s peppered with horns and an array of backing vocals. It’s followed by “Whatever the Weather,” a mid-tempo, ska-leaning number that features prominent horn lines and a resilient message, (“It’s out of my hands, these too heavy times/No matter the weather, I’ll never waiver”). “Welcome to My Life” is a laidback ska tune with introspective lyrics that recalls their 2003 hit “The Science of Selling Yourself Short,” while “Good Sign” is a fast-paced, upbeat punk entry that talks about embracing optimism. The EP fittingly concludes with “Things Change,” a track that highlights some of their top characteristics: high-flying horn parts, the alternating vocal talents of Lima and singer/guitarist Chris DeMakes, and the sturdy rhythms of drummer Vinnie Fiorello. Sound the Alarm is recommended for those in search of a quality ska/punk fix and will likely leave fans anxiously anticipating their next full-length.

Epitaph – Release Date: 2/03/17

Earlier this month, The Menzingers released their fifth album, marking their most mature and detailed collection of songs yet. As the record’s title implies, most of its songs talk about growing older, with some looking in the review and others focused on moving forward. Either way, this album’s lyrics clearly represent the band’s strongest to date. Similarly, the songwriting has also noticeably elevated, which makes sense given that it’s been three years since the release of their last full-length. “Thick as Thieves” is the first notable entry, with its crafty lyrics, (“I held up a liquor store/Demanding top-shelf metaphors”) and massive-sounding guitars, courtesy of producer Will Yip. “Lookers” is up next and it’s one of the catchiest songs they’ve ever written, complete with melodic guitar leads, Kerouac references and a healthy dose of nostalgia. “Midwestern States” addresses topical issues and describes a young couple trying to make it, (“We both got worthless diplomas from worthless universities/Two bachelors in worthless studies, but at least it made our parents happy”). “Your Wild Years” reminisces about a past love and enjoys arguably the record’s most memorable hook, while the title track appropriately includes all of the band’s best attributes, (descriptive lyrics, raw emotion and a fist-pumping, shout-along chorus). With After the Party, The Menzingers have managed to mature stylishly and not lose sight of what made them so appealing to begin with. It’s their most complete record so far and one that simply demonstrates a band in top form.

Asian Man Records – Release Date: 6/10/16

Last month, Asian Man Records celebrated its 20^th anniversary and also released a new compilation, titled Asian Man Music for Asian Man People Vol. 2. It features artists on the label’s roster covering other Asian Man bands, and primarily showcases up-and-coming acts. One of the first noteworthy tracks comes from Scotland’s Murderburgers and their cover of the AJJ tune “Self Esteem.” It’s a decidedly pop punk take on the song and is filled with hooks and well-placed backing vocals. If it’s any indication of what’s to come on their upcoming full-length, then fans should certainly be excited for the record’s release this fall. San Francisco’s Great Apes provide a blistering, lightning-fast interpretation of “Last Strike,” originally by Classics of Love. It emphasizes rawness and ferocity despite being precisely arranged, and is yet another example of how talented this seriously underrated band is. Chicago’s Dowsing delivers an inspired and distinctive take on the Alkaline Trio classic “San Francisco,” which is sure to remind old school fans of why they fell in love with the band in the first place. Laura Stevenson selected another renowned Chicago band to cover in Smoking Popes, contributing a compelling, stripped-down interpretation of their fan-favorite “Do Something.” Additional highlights include covers by Kevin Seconds, Modern Baseball, Jeff Rosenstock and Spraynard. This compilation is recommended for those wanting to relive some of their favorite Asian Man memories, as well as those looking to become familiar with several of the label’s emerging and talented bands.

Side One Dummy – Release Date: 5/27/16

On their second full-length, Toronto’s PUP avoids the sophomore slump and instead delivers a record that clearly surpasses expectations. The album’s title is derived from a doctor’s visit in which singer/guitarist Stefan Babcock was told “the dream is over” in regards to his damaged vocal chords, but clearly the band was able to soldier on after two years of constant touring and create their defining work. On the record’s second track, “DVP,” PUP highlights what they do so well, and that’s alternate between reckless energy and precision arrangements, while simultaneously merging various genres. The song uses elements of punk and pop, along with an excess of gang vocals, to examine a failing relationship and comically dismiss its inevitable fate. “Sleep in the Heat” is a built around a shimmering, fuzzed-out guitar lead that helps to offset the heavy lyrical content. It’s undeniably catchy and definitely one of the album’s most prominent entries. “Can’t Win” features self-deprecating humor, subtle indie rock tendencies and an anthemic, shout-along chorus that’s sure to be a crowd favorite at shows. Additional highlights include a haunting, post-hardcore number called “The Coast” and a ballad titled “Pine Point,” which concludes the record on a hopeful note. The Dream Is Over finds PUP embracing pop influences and advancing their sound with great success. While a lot of the songs deal with disenchantment, there’s also an underlying sense of camaraderie and resolve, and that’s sure to appeal to PUP’s ever-expanding fanbase. Don’t hesitate to check out this album, as it’s likely one of the year’s best.

Fat Wreck Chords – Release Date: 4/01/16

In July of last year, PEARS re-released their debut LP via Fat Wreck Chords and quite honestly took the punk and hardcore communities by storm. Admittedly, the album was recorded in a hurried manner, but still conveyed the band’s unrelenting energy and unique approach to songwriting. In contrast, Green Star was meticulously written and recorded, and the added effort clearly shows. The record certainly spotlights PEARS’ evolution, but that’s not to imply they’ve abandon their signature style of frantic hardcore punk that’s both old school and progressive. Green Star charges out of the gates with “Hinged by Spine,” which channels Today’s Empires… era Propagandhi and highlights the impressive vocal range of singer Zach Quinn. “The Flu” evokes the spirit of punk pioneers Circle Jerks and Black Flag, and seems like it would be a definite crowd favorite in a live setting. The title track changes tempos on a dime, yet transitions fluidly between the varying rhythms. It also features a hyper-melodic chorus that’s supported by a horde of harmonious backing vocals. There’s even a re-recorded version of “Snowflake” from their Letters to Memaw seven-inch and it sounds more concise and confident than the original. Containing 16 tracks in all, including two piano interludes, this album is by all accounts a complete work that observes PEARS really elevating their game. Take a listen to the song “Green Star” below and for those who say there aren’t any new bands out there that are innovative or worthwhile, tell them to check out this record.

[audio:http://www.jadedinchicago.com/wp-content/uploads/2016/04/07-Green-Star.mp3|titles= “Green Star”]

Fat Wreck Chords – Release Date: 3/18/16

Last week, Mean Jeans marked their Fat Wreck Chords debut with the release of the Nite Vision seven-inch. The record serves as a preview for their upcoming album Tight New Dimension, which the label will put out in April. Containing three songs in total, (one that appears on the full-length and two that are exclusive) Nite Vision finds the Portland trio sharpening their patented take on Ramones-inspired garage rock. Things get underway with the title track, an ominous entry that features surf rock undertones and a chorus that stomps along with authority. It also contains a gloomy yet melodic guitar lead that helps to solidify the mood of this confident anthem. Up next is “Now I Wanna Be Yr Dogg,” which channels Teenage Bottlerocket but adds extra humor and a noticeably faster tempo. It’s infectiously catchy and does a nice job of showcasing the vocal abilities of singer/guitarist Billy Jeans. The record concludes with “69 Tears,” clocking-in at less than a minute and a half, though still managing to include buzzsaw guitars, skillful drumming and distinctive call and response backing vocals. If these songs are any indication of what’s to come on Mean Jeans’ forthcoming album, then it sounds as though the band has taken their craft to that next level. Check out the song “Nite Vision” below for a sample of what’s in store.

[audio:http://www.jadedinchicago.com/wp-content/uploads/2016/03/Night_Vision.mp3|titles= “Nite Vision”]

Superball Music – Release Date: 6/02/15

For their second album, Matt Skiba and the Sekrets forgo the melodic punk influences that dominated their first record in favor of power pop and ‘80s synthesizers. And that makes sense, as their first effort was comprised of leftover song ideas from Alkaline Trio, (Skiba’s primary band). This time around, Skiba wrote specifically for the Sekrets, and once again enlisted bassist Hunter Burgan, (AFI) and drummer Jarrod Alexander, (My Chemical Romance). The result is a much more collaborative album that’s brought to life with great success by producer Rob Schnapf. The record kicks off with “Lonely and Kold,” a radio-ready song that evokes hints of The Cure and is propelled by a catchy guitar lead courtesy of Schnapf. Skiba’s voice sounds clear and confident as he sings about breaking old habits and moving on to better things, a theme that emerges several times throughout the album. “She Wolf” comes next and it’s a danceable, Bowie-like tune that’s loaded with keyboards, vocal effects and the masterful bass playing of Burgan. “Krashing” is another prominent entry and features a layered arrangement, creative drumming and a memorable, monster hook. The record concludes nicely with the vulnerable, piano-laced track “Never Believe” and the nostalgic, atmospheric charm of “Vienna.” KUTS is a cohesive, listenable album that’s both inspired and well-written. Longtime fans of Skiba’s work are sure to enjoy this, as are those interested in hearing him effectively experiment with synthesizer-driven rock.

Paper + Plastick – Release Date: 4/07/15

Break Anchor formed in 2011 and features members of The Suicide Machines, The Story So Far and Seized Up. They’re based out of Detroit and the awesomely titled In a Van Down by the River is their debut full-length. The record encompasses an array of influences, from hardcore punk to ‘90s emo, but the band still manages to create a sound that’s distinctly their own. Much of what they do would likely fall under the category of Midwestern punk, and this LP is by far their most fully realized recording yet. The album kicks off with “First World Problems,” an undeniably catchy tune that uses melodic guitar leads and an anthemic chorus to tell a tale of lost love. It’s trailed by “I’m Sorry,” a track the employs a breakneck rhythm before relaxing to a brief ska interlude that transitions seamlessly to a punishing hardcore breakdown. It might sound like a mishmash of genres, but the band is somehow able to pull it off without a glitch. Additional entries of note include “Fell Part,” a somber post-punk song about losing a friend to addiction and “Bang Bang,” a brutal hardcore blast that addresses the topical issue of police shootings. Break Anchor displays significant growth on this record and really defines their sound. It’s an easy album to listen to from start to finish and fans should definitely be eager to hear what the band comes up with next.