Review: The All-American Rejects – Sandbox

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.

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Review: Super Sometimes – Show The World What’s Underneath

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.

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Review: MUNA – Dancing On The Wall

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.

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Review: Social Distortion – Born To Kill

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.

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Review: Sum 41 – All Killer, No Filler

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.

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Review: Koyo – Barely Here

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.

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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.

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Review: Marc-Alan Prince – Runaway

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.

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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.

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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.

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Review: Foo Fighters – Your Favorite Toy

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.

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Review: The Leaving – Ultimate Buzz

The Leaving - Ultimate Buzz

Following in the footsteps of fellow CHVRCHES band member Lauren Mayberry, who released a solo record called Vicious Creature during the band’s hiatus, Martin Doherty and longtime drummer of CHVRCHES Jonny Scott have created their own project known as The Leaving. Ultimate Buzz lives up to its name in more ways than one on The Leaving’s debut, as it creates a ton of hype around this project that quietly stormed onto the music scene with the singles of “Pray” and “Saved.” Fans of the main project of CHVRCHES will be immediately enamored with what Doherty and Scott have crafted with The Leaving on Ultimate Buzz. It’s an album that features thrilling and uplifting vocals, great professional production, and the incorporation of non-programmed drums gives the record a nice punch to it. Doherty leans on his extensive experience as a key contributor and co-vocalist in CHVRCHES to make an incredible artistic statement with The Leaving’s Ultimate Buzz.

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Review: Scarboro – Hate Season

At a time when it’s easy to feel angry about the state of the world, Scarboro have returned with their sophomore album, called Hate Season, that encapsulates these feelings into a cohesive package of punk rock. The set was produced by Brian DiMeglio and Scarboro, and was mastered by Will Yip. The NYC-based band is Jack (bass/vocals), Shi (guitar/vocals), and Radhika (drums), and their tight-knit musicianship is reminiscent of other punk bands like The Explosion, early-Bad Religion, and The Casualties. Sprawling 14 songs and clocking in at just over 27 minutes, Hate Season is a blast of punk rock energy that rarely lets up on its attack.

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Review: Broadside – Nowhere, At Last

Broadside - Nowhere, At Last

The fifth studio album from Broadside, called Nowhere, At Last, is a great mix of styles that the band has tinkered with over the past few efforts. Into The Raging Sea marked a dramatic, and darker turn in the band’s sound, while Broadside’s previous album of Hotel Bleu found them painting with broad and colorful strokes. Nowhere, At Last seems most comfortable brooding in the darkness, as marked by the color aesthetic used in the album cover art and their recent music videos. The music itself found on this record is vibrant, and it blends great guitar parts over electronic elements to keep things at their most engaging and interesting. Lead vocalist Oliver Baxxter continues to improve his vocal performance all over this LP that is brimming with great thematic elements, thoughtful lyrics, and impressive songwriting.

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Review: I Am The Avalanche – The Horror Show

I Am The Avalanche - The Horror Show

Grief can come in many forms and affect people in a multitude of ways. Some are able to channel this feeling into a form of a therapy that they incorporate into their art, while others become crippled by the weight of the tragedy. I Am The Avalanche frontman Vinnie Caruana shared the inspiration behind the band’s new studio album The Horror Show by explaining, “Experiencing ultimate loss will change you on a cellular level. About 75% of the lyrics were written after my best friend passed away suddenly and unexpectedly.” I Am The Avalanche are able to rally around their frontman’s deeply personal loss in his life with an album built on friendship, loss, grief, and with love and appreciation for their music and the legacy they’ve built for themselves as a band. Caruana continued, “This record can become a lifelong companion for those who let it in. The message is simple: You are stronger than you think you are and you are not alone.” Nearly 22 years into their career as a band, I Am The Avalanche have made another strong and memorable statement with The Horror Show.

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