Review: Man Overboard – Heart Attack

Man Overboard - Heart Attack

It makes sense that the band with the battle cry of “Defend Pop Punk” would eventually take aim at the heart. With its self-titled Rise debut feeling a bit safe at times, we needed Man Overboard to reclaim that Real Talk urgency. I’m not saying the band’s last album was bad, but it was missing some of the punch its debut possessed. Thankfully, that’s not the case with Heart Attack, as Man Overboard has brought back its defibrillator to jumpstart things once again.

One of my colleagues stated that it finally sounds like the band is composing complete songs instead of just hooks, and I tend to agree – at least that’s how the self-titled came across to me; it had killer choruses but not much else. Heart Attack remedies that, however, as album opener “Secret Pain” delivers the right amount of kick, as the mid-tempo verses and energetic chorus gives off the sense of a refined Real Talk track. “Boy Without Batteries” features one of the album’s best choruses (good luck getting that bridge out of your head), while the title track and “Suppy” are pure pop-punk bliss.

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Review: Eisley – Currents

Eisley - Currents

Last time we checked in with Eisley, the band was exploring the deep space with its very good extended play of the same name. During the time between that and its latest Equal Vision release, Currents, a lot has happened internally and externally. Some things stayed the same (the band recorded once again in its home studio; they still have an ear for incredibly melodies and hooks), some changed, at least in each member’s personal life (there were a lot of babies in the studio; the band is facing controversy from its failed Kickstarter campaign). But forget all that for now, as the only thing that matters is if the DuPree gang would continue its trend of releasing atmospheric indie-pop gems.

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Review: The Wonder Years – The Greatest Generation

The Wonder Years - The Greatest Generation

I don’t know what draft I’m on of this review. I think probably my sixth. I really can’t remember. I’ve probably deleted 4,000 words over the past two weeks. Part of this is because for the past week I’ve had this terrible fever thing and half of what I wrote was rubbish. The other part is because no one could have expected this record, and if you claim you did expect it, then you’re a liar. 

I believe in The Wonder Years. I believe they are one of the most exceptional bands around right now. They showed us with The Upsides that they could connect to young adults on a fiercely intimate level — more impressively than many of their peers from the late-2000s pop-punk revival. They showed us with Suburbia I’ve Given You All and Now I’m Nothing that not only was their arrival not a fluke, but that they possessed a critically important trait — the ability to, as a group, gather themselves and write an album that both drew upon and grew away from their previous triumph, and improved upon it in every measurable way.

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Review: Fall Out Boy – Save Rock and Roll

Fall Out Boy - Save Rock and Roll

I believe that each time we select an album out of the ether and push play, it says something not just to us, but about us. It becomes a reflection of that instant and transcends into both a personal and social entity simultaneously. It is this duality of frozen moments, between headphones and shared experiences, that helps define why we listen. We listen to be touched. We find comfort in intimate moments alone with songs, and we tie memories with the best of friends to the soundtracks of our nights. The songs that have stayed with me the longest are the ones that exist forever between these two realities: the ones that I suffer with and the ones that I share.

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Review: Alkaline Trio – My Shame Is True

Alkaline Trio - My Shame Is True

For some reason, Alkaline Trio falls into this weird “damned if you do, damned if you don’t” area with their legion of fans. Whenever the band experiments with its sound (CrimsonAgony & Irony), fans complain that it doesn’t sound like the band’s previous material. So when the Trio writes an album that’s a throwback of sorts (its last full-lengthThis Addiction), fans whine about it not being as good as From Here To The Infirmary or Goddammit. The band can’t win. Fortunately, this hasn’t ever deterred the band from writing what they deem to be the best Alkaline Trio songs. On its second proper Epitaph full-length, the band headed to the Blasting Room to work with legendary producer Bill Stevenson for (surprisingly) the first time in its career. The result is My Shame Is True, the Trio’s tightest collection of songs since 2003’s Good Mourning.

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Review: Transit – Young New England

Transit - Young New England

Before you read anything past the first sentence of this review, it’s important to know that Transit earned everything I’m about to write about them.

We naturally hold great bands to higher standards. It is, of course, completely normal to expect a good band to write a good record. So when Transit wrote Listen and Forgive, by all accounts a brilliant album, they subjected themselves to this higher standard. They did something great, and with that comes the expectation of continued greatness. It’s because of this band’s boundless potential and proven track record that their new releases are evaluated with the kid gloves taken off. I know how good Transit can be. I’ve heard it. And because of that, I can say Young New England is the most shocking disappointment to come from the wave of pop-punk bands that Transit has grown up with. 

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Review: Silverstein – This Is How The Wind Shifts

Silverstein - This Is How The Wind Shifts

The idea that one situation can changed dramatically by something as innocent as where the wind blows is a compelling one – something Silverstein explores thoroughly on its latest album, This Is How The Wind Shifts. I feel like Silverstein has been one of the more underappreciated bands out of the early-00’s post-hardcore boom. While many similar acts have either folded or released poor imitations of past work, the Ontario quintet continues to challenge their selves. This Is How The Wind Shifts is proof of that, as it’s the band’s finest effort in its decade-plus career.

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Review: The Story So Far – What You Don’t See

The Story So Far - What You Don't See

It’s wrong to say The Story So Far have grown up. Their wonderfully juvenile debut LP was one of those fuck-you-motherfucker releases us nihilistic douchebags turned into cuddle up music. “You’re the worst you terrible idiot,” is me paraphrasing – but also pretty accurate. So then, what now? Well, a couple of years go by and we get something like What You Don’t See. Should singer Parker Cannon still be so pissed he can barely stand? Should the band still run through every single Set Your Goals song as if they’ve had a couple extra sips of (2010-era) FourLoko? Enthusiastically, yes!

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Review: Josh Ritter – The Beast in Its Tracks

Josh Ritter - The Beast in Its Tracks

After Josh Ritter’s last couple releases, I was beginning to wonder if his music would ever connect with me again like it had in the old days. His finest albums, 2006’s The Animal Years and 2007’s The Historical Conquests of… were both loaded with terrific melodies, astounding lyrical content, and emulations of musical influences that sit directly in my wheelhouse, from Bruce Springsteen to Bob Dylan to Leonard Cohen. 2010’s slow-burning return, titled So Runs the World Away, largely sought refuge in a sunnier folk-pop vein, a la Paul Simon, but despite a few stellar stand-outs, fell short. And last year’s EP, Bringing in the Darlings, failed to connect with me on any level.

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