While most fans of Daryl Palumbo’s power pop project, Head Automatica, point to the band’s debut of Decadence as their best work, I am firmly in the camp that Popaganda is the better album. Heavily inspired by the infectious melodies of The Beatles and the upbeat nature of Elvis Costello, Popaganda came storming out of the gate with the bulletproof single of “Graduation Day” that ignited the limitless possibilities of the band. The record was produced by veteran hit-maker Howard Benson (My Chemical Romance, Saosin), and it has an undeniable sheen to its vibrant sound. The promotional cycle of the record got a bit derailed due to Palumbo’s struggles with Crohn’s disease and the inability to stay on the road as much as he and his bandmates may have wanted. However, giving a fresh listen to this record today is a warm and inviting experience that brought back a flood of positive memories for me during the summer of 2006. It was a CD that spent more time in my car’s player than it did on the shelf, and it stills sounds as urgent and refreshing to this day.
Read More “Head Automatica – Popaganda”Review: Violet Grohl – Be Sweet To Me
For an album that is called Be Sweet To Me, this record has a lot of grit to it. Violet Grohl makes a significant mark on the rock scene with her debut album released today, and the daughter of arguably the biggest rockstar today in Foo Fighters frontman, Dave Grohl, Violet takes her bravest step into the spotlight so far here. The album was produced by Joe Kennedy, Brad Lauchert, Anthony Paul Lopez, and Justin Raisen, and it has a sound fully entrenched in 90’s Alt Rock. On it’s heaviest moments, Be Sweet To Me resembles bands like Hole and The Pixies, while on its more reflective moments Grohl channels artists like Fiona Apple and PJ Harvey. A solid mix of grunge, alternative rock, shoegaze, and dream pop, Violet Grohl’s star shines brightly on her debut LP.
Read More “Violet Grohl – Be Sweet To Me”Review: Bleachers – Everyone For Ten Minutes
Things appear to be looking up for Jack Antonoff, the band leader/frontman of Bleachers. He got married to actress Margaret Qualley in 2023 and his personal outlook on life is leaning towards the optimistic side on the latest effort found here. The fifth studio album from Bleachers, called Everyone For Ten Minutes, was produced by Antonoff, and was recorded during the period of 2024-2026. The record is reflective, as much as it is an observation of a band growing more comfortable in their own skin, and it benefits from the cohesive nature of the songs playing off of each other. Coming off of the success of their self-titled record, Bleachers sound as focused as they’ve ever been on Everyone For Ten Minutes. While the new album doesn’t have the “highs” of the singles found on the self-titled effort, it’s a record that is meant to absorbed as a whole rather than the sum of its parts, and it continues to show commendable growth in Antonoff as a songwriter.
Read More “Bleachers – Everyone For Ten Minutes”Review: Angels & Airwaves – We Don’t Need To Whisper
The build-up to Angels & Airwaves debut LP, We Don’t Need To Whisper, was a contentious combination of hurt feelings (due to the sudden break up of Blink-182), excessive hype (mostly from Tom DeLonge about this new band he was starting), and mystery. The record was produced by Tom DeLonge in his home studio in San Diego, California, and the hype train surrounding the spacey rock found on We Don’t Need To Whisper made almost everyone curious about this new band. The band was rounded out by Box Car Racer guitarist David Kennedy, drummer Atom Willard, and bassist Ryan Sinn. I can vividly remember my anticipation of wanting to wrap my ears around this LP for the first time at midnight of May 23rd, 2006, and be transported into a world that DeLonge was describing as “life-changing.” With the lights out in my room, I started the process of listening to this album from front to back, the way it was intended, but I couldn’t help but think that as good as the album was, my expectations of hearing something life-altering were way overblown. We Don’t Need To Whisper still holds up to this day as a solid album, it features some truly incredible songs, and yet I can also see why most critics didn’t quite “get” what DeLonge was going for here.
Read More “Angels & Airwaves – We Don’t Need To Whisper”Review: The All-American Rejects – Sandbox
For a band that’s been fairly quiet for the past decade and a half, The All-American Rejects stormed back onto the scene pretty significantly with a DIY approach to the music business, and their viral pop-up house party concerts put them squarely back in the spotlight. Sandbox is the fifth studio album from the band, and their first new album in 14 years, that was capped off with 2012’s Kids In The Street. This record was produced by AAR band members Tyson Ritter & Nick Wheeler, with additional production credits from Scott Chesak. If you’re expecting big hooks and loud guitars, much like was found on Move Along and When The World Comes Down, you might be a little disappointed in the music found on Sandbox. For fans who have stuck around with AAR for this long, Sandbox isn’t as jarring of a listening experience as one would think. Instead, the band’s independent approach comes across as an artist comfortable in their own skin, and one who are still willing to take some risks to further their development.
Read More “The All-American Rejects – Sandbox”Review: Super Sometimes – Show The World What’s Underneath
It’s hard to find a new band who knows exactly what type of music they’re great at, sticks to a solid approach to their songwriting, and simultaneously adds a new element to the genre. Welcome to the scene, Super Sometimes. Show the World What’s Underneath is an energetic ten-song set that features two vocalists/guitarists in Gabriel Munoz and Dylan Guzman, and drummer Matthew Ludwig in a tight, three-piece band from San Diego, California. “Show the World What’s Underneath is us staking our flag in the ground as one of the torchbearers of pop-punk,” the band says. “There’s a little bit of something for everybody, and our take on the genre will definitely be a breath of fresh air for those who have been looking for something a little different in the scene. We hope it inspires more people to fall in love with pop-punk the same way we did growing up.” With a confident approach to their sound that recalls the best days of the pop-punk genre with a blending of styles between New Found Glory, The Starting Line, and Blink-182, Super Sometimes is sure to be your next scene obsession.
Read More “Super Sometimes – Show The World What’s Underneath”Review: MUNA – Dancing On The Wall
In the history of music, there have been very few artists who have come out of the gate so strongly that it feels like they can’t miss. MUNA are one of those artists. Dancing On The Wall is the fourth studio album from the band, and was produced by MUNA’s own Naomi McPherson. The set is filled with underrated production, infectious melodies/harmonies, and crisp songwriting that somehow continues to get even better as the band releases each record. The songs on Dancing On The Wall are sure to get your body moving, as the LP features a club-ready atmosphere to it and continues to accentuate the best parts of the pop rock genre. MUNA are a rare breed of an artist who are willing to take big swings for the chance to become you’re favorite band and achieve world domination. They may just have pulled off both tasks here.
Read More “MUNA – Dancing On The Wall”Review: Social Distortion – Born To Kill
There is a real sense of urgency and purpose on the eighth studio album from Social Distortion. Born To Kill was co-produced by frontman and primary songwriter, Mike Ness, and Dave Sardy (Fall Out Boy, Bad Suns) and the new music marks Social Distortion’s first full-length record in 15 years. While the predecessor of Hard Times & Nursery Rhymes seemed comfortable in doing a “victory lap” of the band’s historic career, Born To Kill knocks the listener on their ass and showcases that Mike Ness and his bandmates have plenty left in the tank. When speaking on the multi-year delay between records, Ness shared, “Although this record is out, I’m going to continue the process of writing so maybe there won’t be such a large gap between records. Even when the record’s done, it doesn’t mean the creativity of writing is.” With material this strong, it’s a great sign that we can expect even more Social Distortion in the near future.
Read More “Social Distortion – Born To Kill”Review: Sum 41 – All Killer, No Filler
The debut album from Sum 41 is 25 years old today. Let that sink in for a bit. All Killer, No Filler was a bold introductory statement for a young band to make given how many other albums released during the early 00’s were bloated with extra songs that you’d wonder how they ever made the final sequencing of the record. Yet, Sum 41 pulled off this claim of having 13 solid songs from front to back that, with the exception of maybe the bookends of the intro and “joke” song of an Iron Maiden-esque “Pain For Pleasure” as the closer, to launch their careers. “Fat Lip”, the lead single from the set, appeared to be on MTV more often than not when you turned to that channel, and was an immediate success right out of the gate for Sum 41. It made a household name out of Deryck Whibley, the charismatic frontman and primary songwriter for the band, and the rest of Sum 41 would ride this early success over an eight-album career that recently came to an end. All Killer, No Filler was a product of its own success, with the pop-punk genre being at the height of its popularity at this period of time, and it found an audience almost immediately with Sum 41’s slick brand of speedy, skater pop-punk.
Read More “Sum 41 – All Killer, No Filler”Review: Koyo – Barely Here
How often can you say that a band is so good at their genre that they would only water down a record by adding in a ballad? Barely Here is the blistering sophomore effort from Long Island hardcore band, Koyo, and they do what they do best by charging through ten melodic punk rock tracks with absolutely no ballads to be found. The second LP from Koyo sticks to the basic theme of wanting to find human connections at a time when attention spans seem to be at their shortest. Barely Here was produced by longtime collaborator Jon Markson (Drug Church, Drain, The Story So Far), and features two guest spots in the sequencing from Sammy Ciaramitaro of Drain and Marisa Shirar of Fleshwater. “I think we’d learned so much about our process from making Would You Miss It? that we knew exactly what we wanted going into this one and it came together with more of an instinctual kind of magic to it,” explains lead vocalist Joey Chiaramonte. “A lot of bands think their second album has to be this magnum opus epic that sews so many things together, and I think we’d actually taken more of that approach with our first LP. So with Barely Here we wanted to do the opposite of that trajectory–we wanted to refine our strengths instead of doing this purposeful departure. It’s a snapshot of what our band is in its most no-frills, perfected form.” I couldn’t agree more with Chiaramonte and his bandmates’ approach to their second full-length record, and it pays off widely on Barely Here.
Read More “Koyo – Barely Here”Review: Young The Giant – Victory Garden
On the sixth studio album from Young The Giant, called Victory Garden, the band described the approach to the record as a tribute to “radical empathy.” We could all use a bit of that these days with the state of the world being what it is, and the constant barrage of negative news outweighing any glimmers of good. On the opening track of “Evergreen”, Young The Giant have the concept of a garden top of mind as frontman Sameer Gadhia croons, “Don’t blink, or you might miss it / ‘Life is a garden’, you said / Just walk among the flowers / Don’t kill or be devoured,” in a way of setting the tone for the very topical album that is built around the human elements of accepting others. The set was co-produced by veteran Brendan O’Brien (Incubus, The Killers) as well as the band, and Victory Garden is another solid effort from one of the most consistent bands in the current Alt Rock scene.
Read More “Young The Giant – Victory Garden”Review: Marc-Alan Prince – Runaway
On the title track of Runaway, Marc-Alan Prince tells the story of, “When I left home I was only 16 / No clue about the world / No clue about anything,” over an energetic acoustic guitar. His voice reminded me a bit of other great storyteller punk singers like Kristopher Roe (The Ataris), Brian Fallon (The Gaslight Anthem), and Mike Ness (Social Distortion), and Prince’s working-man approach to his songs is drenched in authenticity and meaning behind each personal lyric. The second solo acoustic album from Prince was produced by Max Cunningham, and was recorded in Austin, Texas at a rental house that was transformed into a studio. Marc-Alan Prince showcases his great songwriting craft on this enjoyable EP that is sure to evoke some sort of emotions from anyone who takes the time to listen to it.
Read More “Marc-Alan Prince – Runaway”Review: American Football – American Football (LP4)
Based on the circumstances after American Football’s last record, LP3, it would easy to understand why the band would need a solid seven years to reset before today’s release of LP4. The previous album came out in March of 2019, and when American Football were gearing up for a break after touring in support of the record, the world shut down due to the COVID-19 pandemic. Drummer Steve Lamos quit the band in July of 2021 due to personal reasons, while the rest of the band tried to get writing done via Zoom sessions, bearing little fruit. Around that same time, Mike and Nate Kinsella were focusing on their side project, Lies, where they met up with producer Sonny DiPerri. Encouraged by that partnership, American Football would regroup, Lamos rejoined in 2023, and the band would work with DiPerri on LP4. It’s a record that grapples with demons like loss, shame, divorce, and self-loathing in a lyrically heavy package. American Football once again prove why they’re one of the best artists to make music that is simultaneously moody, lyrically deep, and filled with solid musicianship.
Read More “American Football – American Football (LP4)”Review: Metric – Romanticize The Dive
There’s something to be said when a band recognizes their strengths as a unit and hones in on those qualities that make them special. Metric have returned with their tenth studio album, Romanticize the Dive, that finds the band reuniting with Synthetica and Fantasies producer Gavin Brown. It’s easy to see how this trusted partnership pays off in the music as Metric continue to strengthen their songwriting all over this solid effort. While this record may not have the runaway success of Fantasies or more recently, Art of Doubt, Romanticize the Dive is comfortable in revisiting the band’s humble beginnings and offering subtle advice for others to follow to benefit their mental health and overall well-being.
Read More “Metric – Romanticize The Dive”Review: Foo Fighters – Your Favorite Toy
The 12th studio album from Alt Rock legends Foo Fighters, called Your Favorite Toy, is a ten-track effort that was produced by the band and Oliver Roman. This marks the first time Foo Fighters have gone outside of longtime producer/collaborator Greg Kurstin since 2014’s Sonic Highways, and in retrospect that was a bit of a risk on Dave Grohl and his bandmates’ part. Your Favorite Toy sounds like a big rock record, was recorded in Grohl’s home studio in Los Angeles, and yet when you wrap your ears around the LP you can’t help but feel like it’s not up to the same quality of the band’s most recent output. It’s the first Foo Fighters record to have Ilan Rubin (Paramore, NIN, Angels & Airwaves) behind the kit, and he does a commendable (if not the near-impossible) job of filling in for the late Taylor Hawkins. Some of the singles, like “Caught in the Echo” and lead single of “Asking For a Friend”, feel like a blend between what Foo Fighters have done on key albums like Wasting Light and One By One, while the other material that surrounds these key songs could have used a little more fine-tuning.
Read More “Foo Fighters – Your Favorite Toy”