Fat Wreck Chords – Release Date: 11/9/10

The Speakeasy is Smoke Or Fire’s definitive statement. It incorporates the catchy choruses of Above the City and the pop sensibilities of This Sinking Ship, but also adds advanced songwriting and a newfound sense of confidence. “Integrity” opens the record with an ascending melody and a critique of the American media before segueing into “Monsters”, which decries white-collar crime and exhibits an epic, anthem-like hook. “Neon Light” is the first single and it’s one of the more rock-oriented tracks on the disc. It features acoustic guitar, a distinctive beat and an unforgettable chorus. “Everything Falls Apart” is a peppy punk number that provides some seriously badass guitar solos. “Shotgun” might just be the top song on the album, due to both its stirring lyrics concerning a friend struggling with addiction and its powerful vocal delivery. “Utah” closes the album on a positive note, as it offers an uplifting message regarding the importance of individuality. Often compared to Hot Water Music and Avail, Smoke Or Fire proudly carries the torch that was lit by said bands. The Speakeasy is a complete work and will be remembered for years to come. It’s also unquestionably one of the best records of 2010.

Asian Man Records – Release Date: 11/16/10

After nearly ten years of making music together, The Methadones have decided to split up. This 16-track release is the band’s swan song and serves as a sincere “thank you” to all of their fans. It consists of five new tracks, their half of a split with The Copyrights and songs from two out-of-print seven-inches. The five new entries represent some of the most impressive tunes that The Methadones ever composed. They were recorded by Justin Perkins at Mystery Room Studios and sound as sturdy as they do pristine. “Murmurs in the Dark” has an interesting lead and backing vocal interplay during its chorus and “Undecided” is a heartfelt pop punk ballad with especially honest lyrics. “Arial” is a beautiful song and plainly one of the Methadones’ best. “Imperfect World” and “What Do You Believe In” are notable songs from the split with The Copyrights, and “Exit 17” flawlessly concludes the record on a solemn acoustic note. This is undeniably the band’s finest full-length aside from their stellar 2004 effort, Not Economically Viable. Anyone in search of first-rate pop punk should look no further, for The Methadones provide a textbook example of how the genre is supposed to be done. They will surely be missed by many and not forgotten anytime soon.

Paper + Plastic – Release Date: 10/12/10

Having called it a day in 2004, The Gamits laid dormant for nearly five years. Then an unexpected phone call came from Japan with the opportunity to do a reunion tour. They readily accepted and the shows were so successful that the band decided to write and record a new album, the end result christened Parts. Grittier than their previous output, Parts is very much a pop punk album, but not in a gimmicky or unadventurous sort of way. “Falling Apart” opens the record at a frenzied pace and really is the most interesting a punk band has made four chords sound in a long time. It presents a unique rhythm, earnest lyrics and a nifty bass solo at about the midway point. Without a doubt, it’s one of the more superb songs that The Gamits have ever penned. “No One Cares So Why Should I” emphasizes increasingly detailed guitar work, as well as complex tempo and key changes. At over three minutes in length, the song never loses focus or gets boring. It’s got some pretty sweet backing vocals too. “Delusional” critiques a certain aspect of today’s independent music scene, but also looks in the mirror and questions The Gamits’ own intentions. Further highlights include the dissonant tale of self-destruction found on “Love Suicidal” and a guest vocal appearance by Lagwagon’s Joey Cape during “Amplifier”. Despite a lengthy hiatus, The Gamits don’t sound as though they’ve missed a beat and have crafted a remarkably cohesive album. Supporters of thoughtful, mature and well-executed pop punk will likely be enthralled with this record.

Hellcat – Release Date: 8/31/10

On their previous album, 2008’s State of Grace, The Street Dogs fearlessly explored varying genres with great success. Each song differed from the last and the record truly served to reinvent and redefine the band. For better or worse, 2010’s self-titled offering goes back to the basics. Comprised of 18 songs, Street Dogs rarely deviates from the conventional formulas of classic street punk. That’s not to say that positives can’t be found on this album, but by and large, it’s a significant regression from their last record. Entries deserving of mention include a spirited anthem called “Punk Rock and Roll”, a rousing, Celtic-tinged romp dubbed “The Shape of Other Men” and an introspective, heartfelt proclamation named “Oh Father”. Also noteworthy is a reworked version of “Fighter”, a fan-favorite from their 2003 album Savin Hill. The production, courtesy of Rick Barton, leaves something to be desired, as does the predictable, no-frills artwork. Worst of all, though, is the excessive duration, because with nearly 20 similar-sounding tracks, the record just feels bloated and ambiguous. Maybe in a live setting, a place where the Street Dogs excel, these songs could be better received.

Asian Man Records – Release Date: 8/10/10

Demos, as one might plausibly surmise, is not a traditional solo album in that it was self-recorded by Alkaline Trio singer/guitarist Matt Skiba on his own laptop. What this recording lacks in terms of studio polish is more than made up for by the insight it provides fans as to how Skiba’s song ideas originate. At its highest points, Demos sounds like a behind-the-scenes preview of what could someday become future Alkaline Trio hits. “You Didn’t Feel a Thing” opens the disc with a familiar Skiba guitar lead and somber mood, and features sparse keyboard accents. “Haven’t You?” is an acoustic ballad that’s not a unlike “Sorry About That”, the final song on Alkaline Trio’s debut album, Goddamnit. “S.O.S.” is an upbeat rock song that boasts heavily distorted guitar and soaring backing vocals. It might not be the best song on Demos, but it’s certainly the most fun and the one that demands the most repeated listens. The remaining tracks either display somewhat of an electronic influence or exceedingly dark lyrical undertones, and simply aren’t as memorable as the aforementioned songs. Ultimately, the overall appeal and quality of songwriting found on Demos doesn’t match Skiba’s previous solo output, (a 2002 split with Kevin Seconds). Therefore, this is strictly recommended for diehard Alkaline Trio fans in search of a fix before the band’s next studio album is released.

Epitaph – Release Date: 9/28/10

Not only did Bad Religion turn 30 this year, they also released their 15th studio album, entitled The Dissent of Man. Easily their best effort since The Process of Belief, this record blends varying genres, bristles with pointed lyrics and radiates a glossy production job. The band wastes little time getting warmed up, as the second track, “Only Rain”, showcases virtually all of their finest attributes. It opens with an intricate guitar lead, flaunts intelligent words, delivers powerhouse drumming and of course incorporates three-part vocal harmonies. The song sounds like classic Bad Religion, but still manages to seem inspired after all these years. Track three, “The Resist Stance”, retains somewhat of a ‘90s alternative vibe and sounds as though it could have plausibly been included on Stranger than Fiction. It’s built around a hypnotic and memorable guitar solo that translates even better in concert. “The Devil in Stitches” is the first single and by far the band’s catchiest song since “Los Angeles is Burning”. Its driving rhythm and sunny chorus are custom-built for commercial rock radio and why it wasn’t a huge smash is plainly unexplainable. “Pride and the Pallor”, “Wrong Way Kids” and “Someone to Believe” are additional melodic entries that are worthy of praise. The residual songs favor more classic rock and folk-like influences, and aren’t as striking as the abovementioned tunes. The Dissent of Man isn’t going to convert many new Bad Religion fans, but it’s significantly better than their last two albums. Those who’ve ever enjoyed the band in the past owe it to themselves to give this a spin.

Chunksaah -Release Date: 1/12/10

In order to celebrate their 20^th Anniversary, The Bouncing Souls released a new song each month last year via digital download. Every quarter, three to four songs were compiled and issued on limited edition vinyl as well. Ultimately, the band further appeased their fans and in 2010 made all 12 songs available as a full-length album, entitled Ghosts on the Boardwalk. The end result finds the Souls continuing to mature gracefully, occasionally nodding back at the past, but most importantly, writing some of the best songs of their career. The first noteworthy entry is “I Think That the World…”, which is a peppy and sincerely sappy love song that stomps along with a sturdy, cadenced purpose. The title track is exceptional too, as it exudes an introspective, U2-like vibe, mixed with some classic Bouncing Souls tendencies. Without a doubt, it’s one of the most memorable songs of their already lengthy tenure. “Dubs Stay True” and “We All Sing Along” lean more toward traditional punk rock territory and will happily remind fans of the Souls’ landmark album How I Spent My Summer Vacation. Conversely, “Big Eyes” and “Like the Sun” are somber, slow-paced ditties that showcase a band unafraid of maturing with poise and refinement. In the end, Ghosts on the Boardwalk stands as a testament to the Bouncing Souls’ greatness. Even casual fans of punk rock should immediately check this out, because these guys are unquestionably one of the top bands in the genre.

Asian Man Records – Release Date: 2/16/10

The Smoking Popes are one of the quintessential Chicago punk rock bands of the ‘90s. While it may be commonplace nowadays for punk bands to inject a sizeable pop influence into their sound, back when the Popes formed in 1991 this was far from the case. Their legacy, however, really speaks to the talent of each individual member, as well as how they came together to collectively write numerous high-quality songs. There’s the unmistakable, pristine croon of singer Josh Caterer, the intricate lead guitar work of younger brother Eli Caterer, the dutiful bass playing of older brother Matt Caterer and of course the powerhouse drumming of Mike Felumlee. It’s Been a Long Day captures their humble beginnings and features 20 songs in total, including the following seven inches; Inoculator, Break Up and 2. Highlights include the frenzied start and stop interplay of the bubbly fan-favorite “Writing a Letter”, and what is easily one of the best examples of the Popes’ patented laments of forsaken heartbreak, “Under the Blanket”. “Hang” is a laidback rocker worth mentioning, as are the patient, well-executed disc closers “Do Something” and “Pasted”. Nearly all of the songs on It’s Been a Long Day have been out-of-print for years, so that alone should be reason enough to pick this up. This collection of re-mastered tracks is also the perfect refresher for longtime fans who are awaiting the release of the next Smoking Popes full-length, which is due in the fall of 2010.

Epitaph – Release Date: 2/23/10

This Addiction is unequivocally the homecoming or return to form album that it’s been widely hailed to be. Released on the band’s own Heart & Skull label, (an imprint of Epitaph) and recorded by producer Matt Allison, (who helmed the boards for the band’s first three records) This Addiction serves to remind listeners as to why they fell in love with Alkaline Trio in the first place. On the one hand, there’s the return of the sincere and heartfelt lyrics, and on the other is the somewhat simplistic yet catchy songwriting that can’t help but demand frequent, recurrent listens. The disc begins with the title track, a swift and speedy number sung by guitarist Matt Skiba that sounds like a melding of previous Trio tunes “My Friend Peter” and “Armageddon”. The second song, “Dine, Dine My Darling”, sees bassist Dan Andriano assume lead vocal responsibilities, resulting in a melodious entry that evokes Warning-era Green Day. Track three features an unexpected horn solo that brightens and enhances the overall effort, while the fourth song, “Dead on the Floor”, is likely the pinnacle of the entire album and one of the greatest Alk3 songs of all-time. “Off the Map” and “Fine” are quality and quintessential Danny-penned anthems, whereas “Eating Me Alive” and “Piss and Vinegar” are straight-ahead rockers that showcase the finer elements of Skiba’s song-crafting abilities. The deluxe edition includes six bonus songs, not to mention a DVD of the band’s 2008 performance at the House of Blues Las Vegas, making it definitely worth the retail price. Arguably their best album behind Goddamnit and From Here to Infirmary, This Addiction is a true “return to roots” and simply a must-have.

Red Scare – Release Date: 3/16/10

Punk rock front-men vacationing from their bands and taking the solo, folk/acoustic route is all the rage these days. In many ways, it’s not unlike the ska/punk craze of the mid-‘90s in that everybody’s doing it, there’s not a lot of originality and its lifespan is destine to be brief. However, just like quality ska/punk, when the punk singer/songwriter thing is done well it’s damn good. Such is the case on this split record, entitled Wasted Potential. Sharing the limelight on this release are Lawrence Arms singer/bassist Brendan Kelly and Smoke or Fire singer/guitarist Joe McMahon. Brendan’s songs are up first and they primarily consist of stripped-down, lo-fi versions Lawrence Arms classis, such as “Like a Record Player” and “Quincentuple Your Money”. He also covers what is arguably Jawbreaker’s best song, “Kiss the Bottle”, providing more of a somber mood than the original and doing so with ample success. His half was recorded by Justin Yates, with the intent of achieving a raw and uncut kind of feel, which serves to magnify the true heart and guts of each song. It’s a unique and effective approach, and quite representative of what a lot of Brendan’s recent solo shows have been like. Joe’s contributions though are slightly more produced and offer a bit more passion and gruffness in the vocal department. Highlights included renditions of Smoke or Fire hits like “Filter” and “Little Bohemia”, yet the real gem is “What Separates Us All”. It decries America’s widening economic divide with heart-wrenching authenticity and surefire hooks. Fans of either The Lawrence Arms or Smoke or Fire should try this out to gain a new and appealing perspective on songs they’ve grown to love from the aforementioned bands. Followers of the folk/punk movement ought to sample it as well, because it’s one of the best examples of this hip and fashionable format.

Epitaph – Release Date: 3/23/10

Soon after the release of Propagandhi’s second album, 1996’s Less Talk, More Rock, John K. Samson left the hugely influential punk rock band and formed The Weakerthans. By no means was it his intent to bridge the gap between hardcore, political punk and folk-tinged indie rock, but by steadily releasing high-quality records for over a decade, Samson has inadvertently made it safe for punks everywhere to embrace soft and quiet music. This the Weakerthans’ first live album, christened Live at the Burton Cummings Theatre, does a noble job of exhibiting the strongest moments of their back catalog in a fresh and exciting context. Songs from all four full-lengths are represented and further fleshed-out by an expanded lineup that consists of trumpet, violin and female vocals. Another bonus is the liveliness of the hometown crowd, whose energy only adds to the captivating concert that took place on a special Winnipeg evening in April of 2009. Although the band takes a few songs to warm-up, by the time they reach the fifth song, “Reconstruction Site”, they really start to hit their stride. The song’s reminiscent mood draws the crowd’s attention before giving way to the hurried march of “Aside”, which is easily one of the best songs off their second album. “The Reasons” and its earnest lyrics is another pleasing focal point, as is “Left and Leaving”, due to its deeply personal and vulnerable nature. In a live setting, the song is somehow more engaging and emotional than the already stellar recorded version. Additional distinguished performances include; “Wellington’s Wednesdays”, “Manifest” and “One Great City!”. This CD/DVD combo pack is a terrific example of how a live album should be done; the recording is pure and unpolished, the DVD is beautifully shot, the song selection is great and the band played brilliantly. Needless to say, Live at the Burton Cummings Theatre is highly recommended.

Side One Dummy – Release Date: 4/27/10

Jesse Malin is a skilled and talented singer/songwriter from New York City. In the ‘80s and ‘90s, he fronted bands such as Heart Attack and D Generation before going solo in 2002. Love It to Life is Malin’s fourth solitary disc and his first for Side One Dummy. It was produced by Ted Hutt and by all accounts does an impressive job of blending the various styles of his previous three albums. Also of note is that Love It to Life witnesses Malin’s first collaboration with a troupe of musicians known as The St. Marks Social, in addition to guest appearances by Ryan Adams, Brian Fallon and more. The record starts with “Burning the Bowery”, a confident, melodic piece of music that celebrates Malin’s love of NYC. It’s undeniably one of the greatest songs of his career and in the best possible way sounds as though it should be the featured song on a movie soundtrack. “All the Way from Moscow” is up next and it’s a guitar-driven tune with Weezer-like pop sensibilities and a dynamic, forceful tempo that seems like it was specifically written to be performed in a live setting. “St. Marks Sunset” is a disheartened love song that slows things down a bit, while “Burn the Bridge” speaks to the spirit of teenage angst and reckless abandon that’s found in every diehard fan of rock ‘n roll. The album draws to a close with “Black Boombox”, Love It to Life’s edgiest, most urgent track, followed by “Lonely at Heart”, a somber ballad that champions heartache with accents of piano and acoustic guitar. What’s problematic is Love It to Life’s relatively short duration, (only 10 songs total) and the fact that it’s simply not as consistent as Malin’s previous record, Glitter in the Gutter. Perhaps after further touring with his new backing band, Malin will be able to deliver a more cohesive album. Until then, newcomers should sample Glitter in the Gutter before trying Love It to Life.

Vagrant – Release Date: 5/4/10

The Hold Steady’s fifth album, Heaven is Whenever, finds the band sounding further assured and at ease than ever before. Despite the departure of multi-instrumentalist Franz Nicolay, the group doesn’t seem as though it’s grasping to fill some sort of void. Rather, it’s more like they’ve embraced a newfound sense of certainty and conviction. On the whole, this collection of songs features added breathing room, a deep-seated classic rock vibe and improved vocal arrangements. Tracks two and three, “Soft in the Center” and “The Weekenders”, get things started on a positive note, as both provide big hooks, pleasant harmonies and blazing guitar leads. Also emphasized on the aforementioned songs is singer/guitarist Craig Finn’s patented lyrical approach of lessons learned from young love gone awry. However, the disc’s best lyrics are found on “Rock Problems”, which refreshingly injects a drop of cynical humor into one of Finn’s conventional tales of drunken follies. Perhaps the album’s top entry though is “Hurricane J” and its upbeat backing vocals, mega chorus and charging, energetic crescendo. The remaining songs aren’t quite as memorable, and overall Heaven is Whenever probably isn’t as strong a release as the band’s previous two full-lengths. That being said, this is still a decent effort that possesses quality production and artwork, and should undoubtedly be purchased by previous fans of the band. Newcomers in search of exceptional, riff-heavy rock ‘n roll should first sample their 2006 record, Boys and Girls in America.

Paper + Plastic – Release Date: 5/18/10

Stephen Egerton is best known as the proficient guitarist of legendary pop punk pioneers The Descendents and ALL. He’s also arguably the most talented and skillful punk rock guitarist of all-time. This is his first solo effort and very much a unique album in terms of how it was created. Egerton not only wrote all of the songs, he also played every instrument, (guitar, bass and drums) and even recorded everything in his own studio. He then went about enlisting the help of various distinguished punk singers to contribute lyrics and vocals. Some of the notable vocalists include; Tim McIlrath of Rise Against, Joey Cape of Lagwagon and Dan Andriano of Alkaline Trio. Not surprisingly, the principal entries come from the most prominent singers. “Cut Me Down to Size” is a spry, bouncy number sung by Mike Herrera of MxPx and it’s undeniably the catchiest song on the disc. “Print on Paper” features vocals from Chris Demakes and Roger Manganelli of Less Than Jake, as well as lyrics from their drummer, Vinnie Fiorello. It’s a mature, mid-tempo rocker, accented with attractive guitar leads and solidified by a robust chorus. Lastly, there’s “She’s Got Everything”, which boasts a rare appearance by Descendents singer Milo Aukerman. The song is sure to please diehard Descendents fans through and through, and sounds as though it could have easily been included on their 2004 album, Cool to Be You. Ultimately, what’s problematic regarding this release is the fact that it contains a total of 16 songs, thereby making it difficult to establish consistency and avoid filler tracks. Rather than buy the entire record, potential listeners should pick and choose from the abovementioned vocalists via iTunes, while steering clear of the lesser-known singers.

Sire – Release Date: 6/8/10

White Crosses is Against Me!’s second major label offering, and by industry standards, this time it’s platinum or bust. Their last album, New Wave, was critically-acclaimed and achieved modest commercial success, but now they need to move at least a million units, as the music bigwigs say, to keep things above water. Whether or not that will happen has yet to be determined, though with a hit single like “I was a Teenage Anarchist”, newfound levels of achievement could likely lie in the band’s future. The song addresses singer/guitarist Tom Gabel’s youth, takes aim at the group’s haters and above all, is a quintessential summertime anthem. It’s tailor-made for full-volume highway sing-along sessions, with its plethora of sunny melodies and an abundance of beefy hooks. Another bright spot is “Because of the Shame”, even if sounds a bit too much like Bruce Springsteen’s “No Surrender”. The song’s driving rhythm is propelled by an array of rousing backing vocals and a tasteful piano accompaniment, both of which would surely make The Boss proud. Another positive is “Rapid Decompression”, as it harkens back to the band’s punk rock roots, romps along with snarled hostility and clocks-in at less than two minutes. Sadly, the remaining tracks don’t fare so well. Musically speaking, most of them stray too far from what the group’s known for, (and adept at) while from a lyrical stance, many of the entries seem uninspired. Also disappointing is the fact that the addition of drummer extraordinaire George Rebelo, (Hot Water Music) goes virtually unnoticed, as his playing seems stifled and predictable. In the end, this is by no means Against Me!’s best record. There are certainly a couple of great songs present, but unfortunately they’re outweighed by the ones that lie beyond the band’s comfort zone. Trying new ideas is never a bad formula, but sometimes when you lean too far on a limb the branch snaps, and such is the case with White Crosses.