Best of 2008 (part 2)

10. Elliot Brood - Mountain Meadows: I enjoy praising "raspy vocals" in my reviews, and generally I'm a sucker for them just out of preference.  And with Elliot Brood, the lead singer's voice couldn't be more raspier.  However, even for me, the instruments really steal the show here.  But what surprised me most was how much I loved the numerous instrumental tracks.  Dark country influenced piano solos and acoustic guitars take the reigns, guiding each instrumental like a narrative - calling the effect atmospheric is an understatement.

9. Ra Ra Riot - The Rhumb Line: Quiet, reserved, calming indie rock never sounded so good.  The New York group's full length debut stayed in constant rotation for weeks after release and had me questioning my punk-rock allegiances.  Songs flow seamlessly together but retain distinctive qualities.  That the band created such an impressionable release after losing their lead songwriter (he passed away) is a credit to Ra Ra Riot's shared musicianship between its crew.

8. Ghoultown - Life After Sundown: As far as I'm concerned, at this point Ghoultown can do no wrong.  With Life After Sundown they have proved themselves the undisputed kings of the dead west.  By blending spaghetti western and outlaw-like sounds with punk and metal sensibilities, the band creates a soundscape unlike any other.  They've also upped their lyrical game, writing epics that had me on the edge of my seat.  Sure, they're a novelty band, but quite possibly one of the best around.

 
7. Okkervil River - The Stand-ins: Part two of what was originally intended as a double release, The Stand-ins picks up where last year's masterpiece, The Stage Names, left off.  I'd venture to say that songs like "Lost Coastlines" actually surpass last year's effort, but that may just be that I'm still awe struck by these indie marvels making year end lists for the second year in a row.  

6. The Hold Steady - Stay Positive: I have to admit, I missed out on 2006's critically acclaimed Boys and Girls in America, so my reference point may be a little different than most.  But as an introduction to the band, Stay Positive was more than I could have ever hoped for.  The songs are catchy on a grand scale, but but thanks to the borderline sloppy vocals retain an unpredictable quality.  I'd be doing a great injustice if I didn't comment on the narration, so I'll briefly praise captivating stories and unforgettable characters that help make Stay Positive more then memorable.

5. The Gaslight Anthem - The '59 Sound: In addition to that wonderful EP, the band also managed to put out an incredibly solid full length album in 2008.  They've come a long way since their 2007 debut, more completely defining themselves through their Springsteen overtones and odes to various musical inspirations.  But they're so much more than a tribute band.  They take mastery of their influences, making songs that are entirely their own, and in may cases that surpass their idols.  Simply put, The '59 Sound can not only be appreciated, but loved by people from practically any musical preference.

4. The Tom Fun Orchestra - You Will Land With a Thud: You Will Land With a Thud was one of the very first albums in 2008 where I instantly knew I had found something classic.  The band has a distinct Nova Scotian sound, defined with celtic undertones, but also blends together an unforgettable array of swing, country, folk, and salsa.  It's one of the most refreshing sounds in current memory, and has been a staple in my library since way back in January - a testament to its appeal. 

3. Gutter Demons - Misery, Madness, and Murder Lullabies: With their latest album, the Gutter Demons have created a Psychobilly gem that truly expands what the genre is capable of.  Misery, Madness, and Murder Lullabies shows a distinctly psychobilly band blending various genres together to create an album with something for everyone.  Punks will love the coarse vocals, rockabilly enthusiasts will love the song structures, and psychobilly cultists will go wild for the unparalleled mastery of the the click-thump-click of the upright bass.  Unfortunately the band played it's final show as of November 29th - R.I.P. - but the band's accomplishments will live on forever in this record.

2. Saint Alvia - Between The Lines: Every now and then an album comes along that you could proudly hear on the radio without and greet with praise.  I recognize Saint Alvia's masterpiece in second place because it achieves what most great punk albums cannot: kick ass tunes that not only sound impressive inside the genre, but that genuinely sound current and relevant to today's music in general.  That Between The Lines mashes together so many obscure influences and sounds and still achieves such a feat is truly remarkable.

 1. The Dreadnoughts - Legends Never Die: The Dreadnoughts' debut takes first place on my list because simply put, it's an instant classic by a band no one really knew existed.  Legends Never Die is hands down the best celtic punk album in years, beating out genre mainstays The Dropkick Murphys, The Real McKenzies, and Flogging Molly.  Some have called it "pirate punk," but that's a pretty narrow minded definition for something as addictive as this.  Furthermore, the album feels like it catches the Dreadnoughts' full live experience, and while I have yet to see them live, since they're based in my hometown, seeing The Dreadnoughts live is definitely one of my most pressing new years resolutions.  

Best of 2008 (Part 1)

20. Alkaline Trio - Agony & Irony: I must admit, after signing to a major label, I never thought this would show up on here.  I fully anticipated Alkaline Trio would further butcher their sound, and lose almost all personality.  But to my surprise, Agony & Irony actually ended up being a return to form, containing some of the most atmospheric and memorable tunes since Goddamnit.

19. Pennywise - Reason to Believe: Undoubtedly the best (temporarily) free album of the year, after 20 years Pennywise shows us that they can still make some of the best punkrock today.  While they were sounding stale in their past couple releases, the band seems to have found new life.  By adding a slight metal overtone and a punchier "rock" core to their songs, the band made themselves relevant once again.

18. Son of Sam - Into The Night: Horrorpunk as it should sound.  Every year I wait for that one Horrorpunk album that reaches beyond the genre and finds a home in my daily playlists.  Because of the all star cast making up this record, I'm not surprised Son of Sam's latest release took that top spot this year.  While I was never a fan of the band in their 2001 release, replacing Davey Havoc with Ian Thorne not only won me over, but got this record on my year end list.

17. The Real McKenzies - Off The Leash: Bagpipes rarely sound this good.  Few celtic punk bands really ever find that sweet spot, but after three releases, The Real McKenzies just know what to do.  The band sounds more confident than ever, switching between goofy pub songs and more somber moments, Off The Leash is a "novelty" album that could be played any place, any time and find appreciation from all.

16. Portugal. The Man - Censored Colours: This band just never stops changing its influences and pioneering new ground.  With their first record off of Fearless Records and full independent, it's clear that the band finally had the opportunity to express themselves without reserve.

15. The Briggs - Come all you Madmen: There's something to be said about a band that just "gets" a genre.  The Briggs simply know how to make picture perfect, anthemic east coast hardcore street punk.  The vocals are big - the choruses even bigger.  I need not say more.

14. The Features - Some Kind of Salvation: I know very little about this band, other than than I can't stop playing this album.  It came out of nowhere and delivered the perfect blend of indie and pop I'd been looking for all year.  They seem to have completely reinvented their sound as well - I tried listening to their previous releases, and I can safely say that The Features have never sounded this good.

13. Zox - Line In the Sand: For whatever reason, I usually find myself avoiding music that's too "radio friendly."  It's not intensional, but just how my preferences have developed.  But for Zox I make an exception.  Should any song on this album see significant radio play, there's no doubt in my mind that Zox would garner quite a following.  Defined with an electric violin, an easy comparison would be Yellowcard - but that would also do a great injustice, for Zox sings with a rare passion and clarity, setting them apart from their contemporaries.

12. The Methadones/The Copyrights - Split: Two of the best pop-punk bands out there in one release, what more could you ask for?  Since I had always both bands' full length albums dragged on a little too long, the format really plays to both bands' strengths.  To top that off, these songs are both some of the best in each band's library.

11. Ezra Furman & the Harpoons - Inside the Human Body: Heavily inspired by The Violent Fems' glory days, Ezra Furman mixes a The Fems' shaky delivery with Conor Oberst like emotion.  The result is infectiously catchy, and altogether unpredictable.  What surprised me most after my first listen to  Inside the Human Body's was the band's adoption of indie inspirations.  Their first release was praised because of its genuine Bob Dylan-ness, so venturing outside of such praise was a gamble.  But it payed off.  The band now has a more developed and distinct sound than ever, and they're better for it.

Saint Alvia - Between The Lines

Artist: Saint Alvia

Album: Between The Lines

Label: Stomp Records

Every now and then an album comes along that feels too intimidating to review, and I just keep pushing it further and further back on my list.  It's not that I avoid listening to such releases - in fact, more often than not they become some of my most enjoyed albums of the year.  But these releases draw upon and seamlessly blend together so many genres and styles that I always fear misinterpreting a band's inspiration - or that I just won't be able to describe the richness and diversity of sound.  This was the case with Saint Alvia's (formerly known as The Saint Alvia Cartel) latest release, Between The Lines.

Released a short year after their strong self titled debut, Between The Lines expands the band's genre pushing tendencies.  While their self titled release blended together Tim Armstrong inspired vocals, ska overtones, a quivering organ, and "pop" sensibilities, their followup introduces several new influences, starting with the lead track.  When I first heard "Run Before You Walk DMC" I instinctively picked up the CD case to double check that I was indeed listening to Saint Alvia.  With vocalists Ben Rispin, Greg Taylor, and Rob Pasalic trading off between hip-hop and raspy street-punk styles every few lines, the track sounds almost reminiscent of The Transplants.  But thanks to a bouncy bass and two upbeat guitarists, I doubt The Transplants could ever sound this hard hitting.  Simply put, "Run Before You Walk DMC" is one of the most refreshing and addictive tracks of the year.  

But most of the album follows Saint Alvia's more familiar sound.  However, unlike Saint Alvia's previous outings, the band increases the tempo and employs bouncier, more upbeat rhythms amidst a slew of soul, blues, and dancehall reggae.  "Roll With It" ultimately reveals the band's musical philosophy when Ben Rispin sings "Well times they are a changing boy/And I know its true/A new generation, oh lord what will we do/You've gotta roll with it, marry old with the new."  While the track speaks more broadly about learning from past mistakes in a dynamic world, the verse's description of moving forward while honouring past legacies perfectly describes Saint Alvia's musical approach.  The result produces tracks like "Romeo," "Roll With It," and "Between The Lines," where every influence sounds fresh, unpredictable, and very relevant.  The best example of Saint Alvia marrying "old with new" is "Mornings In Feng Tu," a presumably Italian inspired, accordion guided track, opened by Rispin lowering his voice to a near whisper.  The remainder of the band joins Rispin for the chorus, moodily chanting "Angels will fall, in this battle for hell" - creating an atmosphere which admittedly had me gently swaying back and forth.  Later a mysterious deep voice surfaces, almost as a bridge, moodily detailing a tale of fallen angels and redemption.  That the track feels so at home on the album is truely a testament to the band's ability to synthesize a track from practically any musical style.

Even now I have so much more to say about Between The Lines - from the smooth country tune "At Least (I'm On My Own)," to the band's integration of a lecture by the University of Alberta's professor Gordon Laxer into their most politically charged song to date, to their insightful and socially conscious lyrics - but reviews just don't provide enough space to adequately detail every twist and turn.  So instead I'll conclude by saying that for me, Between The Lines is one of the most instantly grabbing and persevering releases of the year.  Saint Alvia emits such an aura of confidence when experimenting with seemingly unrelated influences that Between The Lines sounds fresh and interesting after each and every listen.

Druglords Of The Avenues - Self Titled

Artist: Druglords Of The Avenues

Album: Sing Songs

Label: Self Released

In the past year or two, Red Scare Industries has signed many of what have become my favourite punk bands: The Cobra Skulls, The Copyrights, The Methadones, The Sidekicks, The Falcon - and the list of well produced, debatably pop-punk bands goes on.  Their newest signing, Druglords Of The Avenues, have yet to record under the watchful eye of Red Scare, but after listening to their self released debut, Sing Songs, it's obvious why Red Scare snatched up these Oakland, California boys.

Lead vocalist, "Johnny," sings in a familiar but elusive key.  Imagine mashing Nothington's raw feel together with Flashlight Brown's unpolished poppy vocal delivery - then you'd have Druglords of the Avenues.  With the exception of "Search Again's" anger fueled guitar, the band typically keeps an upbeat, bouncy tempo.  They differentiate themselves from labelmates The Copyrights and The Methadones by drawing more heavily on punk "rock" than "pop."  Furthermore, when the vocals reach an aggressive level, many tracks, like "There's Nothing Really Going On" and "These So Called Druglords," reveal street-punk overtones.  However, one of the biggest "issues" with Sing Songs ends up being its steadfast tempo.  While there is never any ambiguity over when one track ends and another begins, at times some songs sound slightly too familiar for comfort.  For example, "What Is Good" and "He Loves" feature choruses that, while obviously not identical, feature the same vocal wailing.  Thankfully, throughout several songs the band changes the tempo, keeping things fresh - subsequently removing predictability.

The band liberally throws around lyrics like "Meatballs and Corn Stew," which admittedly had me sctraching my head for quite a while - but after a few listens I finally began making probable thematic connections.  The first track, "Me Decided," introduces a grammatically confused, scatterbrained description of a rekindled relationship, setting up the rest of the album for the Druglords' ever present conflicted tone.  The band seems to love asking personal and social questions, only to dance around the answer.  "What is Good" asks exactly what the title suggests, and several tracks later "Search Again," with "Mixed Up" immediately following, together confirming that even half way through the album the band still hasn't settled on any concrete answers.  

Sing Songs provides an intelligent, thoughtful introduction to Druglords Of The Avenues.  While I'm still hesitant to place the band on the same level as other Red Scare greats, if the band continues evolving and maturing their promising combination of rough vocals, bouncy melodies, and inquisitive lyrics, their Red Scare debut could be an event I'll need to highlight on my calendar.

The Creepshow - Run For Your Life

Artist: The Creepshow

Album: Run For Your Life

Label: Stomp Records

When I first heard Burlington, Ontario's premier psychobilly outfit The Creepshow's 2006 debut I remember being impressed, but not blown away.  The combination of Jen "Hellcat" Blackwood's crisp but smokey vocals, horror themed lyrics, and the rest of the band's poppy psychobilly rhythms worked so well - but also sounded a little too familiar.  Since the advent of female led psychobilly outfit the Horrorpops in 2001, the combination picked up steam in the mid 00's, resulting in tasteful imitations like Mad Marge & The Stonecutters and Thee Merry Widows.  Crisp female vocals against a semi-poppy psychobilly backdrop became the common thread linking these bands together, but which also made many of the imitators - including The Creepshow to a certain extent - blur together.  Thankfully in The Creepshow's second effort, Run For Your Life, the band expands their sound, further defining themselves from the pack.

While their previous release, Sell Your Soul, had a "goofy," almost "spooky" psychobilly feel, Run For Your Life sounds more influenced by "punkabilly" - psychobilly's faster, punkier, more rockabilly based younger brother.  While not radically altering song structures - the thick double bass continues taking centre stage and the haunting church organ still echos in the background - the general tempo speeds up, and thanks to the replacement of Jen "Hellcat" with her younger sister Sarah "Sin," vocals have a little more "punch."  Despite the tempo increase, songs like "Demon Lover" and "Run For Your Life" offer a distinct rockabilly vibe absent from from their previous release.  Others like "Burried Alive" offer perfectly envisioned female fronted punkabilly tunes, complete with steadfast drumming, a speedily strummed bass, and plenty of backing "woahs" - right before the song winds down there's even a moody bridge purely featuring backup vocalist and upright bassist Sean "Sickboy" McNab.

Sarah's near seamless replacement of her sister deserves particular attention.  The only real difference between Sarah and Jen is the level of "smokiness" in their delivery.  While Jen's quivering delivery made her more immediately comparable to Horrorpop vocalist Patricia Day, Sarah's voice is a little higher and maintains a certain "roughness."  But because the entire band traditionally contributed backing vocals against Jen's voice, Sarah's delivery still maintains a vocal continuity across both records.

Lyrically the band seems to have matured since 2006.  While its hard to fault a band that takes inspiration from b-movies for writing songs about zombies eating brains, the goofy nature of old tracks like "Zombies Ate Her Brain" hurt re-playability.  While songwriting credit goes to the entire band, after listening to Sarah's solo album, I can't help but think Sarah has helped mature The Creepshow's lyrical content.  Like her solo album, many songs use horror based metaphors for describing real life issues and feelings.

The Creepshow is back and better than ever - faster melodies, a new lead vocalist, and overall better musicianship make Run For You Life stand apart from the crowd.

The Uprising - Appetite For Deception

Artist: The Uprising

Album: Appetite For Deception

Label: Long Live Crime Records

The Uprising plays a classic style of OC punk-rock that thankfully never seems to fall out of favour.  Sure, fewer and fewer bands play classic OC punk these days, and the days of Bad Religion, 90's The Offspring, and Pennywise hits dominating the airwaves have come and gone, but if you dig deep enough you can still find new revivalists like The Uprising keeping this niche's fans occupied.

The Uprising plays a distinct brand of punk-rock that shifts between sounding like an edgier brand of Pennywise, and a more aggressive version of Bad Religion.  Like the aforementioned bands, The Uprising subscribes to a melodic punk-rock legacy.  Insanely fast drumming speeds along behind a foreground of slightly slower guitars, and is all guided by lead vocalist "Crabby's" smoothly melodic voice.  In tracks like "I Wanna Know," silky smooth Bad Religion-esque backing vocals (read: "whoas") add another layer of polish to the band's sound.  However, the band doesn't "overuse" their backing vocalists, a key distinction that prevents them from sounding too close to Bad Religion.  Seeing how Bad Religion guitarist Greg Heston helped oversee the album, such an influence seems natural.  Rounding out this polish comes rougher tracks that borrow from earlier Pennywise material.  Tracks like "Signs" have a distinct tempo change between the chorus and body of the song, producing a disjointed feeling that keeps the material sounding "rough."  "We Don't Belong" actually features vocals from Pennywise frontman Jim Lingberg which, again, makes the apparentness of the influence appropriate.

Lyrically, the band heavily aligns itself with Pennywise, passionately and angrily preaching about social issues and a time for change - themes more than apparent in the album's artwork of a bloody stained White House.  Based on Crabby's experiences detailed on the band's website, I imagine the lyrics are sung with as much sincerity as their strong delivery suggests.  Near fatally injured by a terrorist bomb in Indonesia in 2002, Crabby had to draw upon the punkrock community to pay his medical and rehabilitation expenses when he arrived back home.  Bitterness would be an understatement.

I've thrown around Pennywise and Bad Religion in this review more than I'm comfortable with.  I don't want anyone thinking that I find this album favourable simply because of familiarity.  I've heard a lot of boring OC punk-rock clones that stray far too close to their parent material - The Generators instantly come to mind - but that's not the case with The Uprising.  The key difference, passion, isn't exactly quantifiable, but is certainly instantly apparent.  Simply put, The Uprising's strong debut places the band into the same camp as the genre leaders, preventing Appetite For Deception from falling in with legions of "paint by numbers" OC punkrock clones.

Senses Fail - Life Is Not A Waiting Room

Artist: Senses Fail

Album: Life Is Not a Waiting Room

Label: Vagrant

My history with Senses Fail can be traced back to destinaitonless car rides in the summer of the band's full length debut, Let it Enfold You.  A good buddy of mine burned the single "Buried a Lie" on one of his mix CDs.  After a few listens it soon became the brunt of many emo related jokes, and we laughed at the horrible lyrics involving some depressed freak digging up his dead girlfriend and preforming an autopsy.  Needless to say, when they released their follow-up album in 2006 I completely ignored it, assuming it was simply more of the same wrist slitting emo.  But then in 2008 the band released their latest album, Life is Not a Waiting Room to shockingly favourable reviews.  I held out for quite some time, but then curiosity got the best of me and I gave it a listen.  

Upon my first run-through I waited for the whinny cringe inducing vocals and boring pop-punk guitar riffs - but the combination never came.  I did hear the same almost tolerable emo vocals, but they were supported by a slew of ferocious guitar solos and some really high energy rock tunes.  For their latest album, the band draws quite heavily on the technically complex styles that many post-hardcore bands lean on.  The metal influenced guitar solos on tracks like "Lungs Like Gallows" and "Wolves at the Door" were my biggest surprises.  Their solos would sound right at home in any respectable power-metal band's album.  Still, other tracks draw on additional influences.  "Family Tradition" and "Hair of the Dog" opens with chords that wouldn't sound out of place on an Angels and Airwaves album, and "Map The Streets" features a catchy chorus that sounds heavily influenced by contemporaries Taking Back Sunday.  

Unfortunately, in tracks like "Four Years" James Neilson relapses to his previous unbarable vocal style, but thankfully from time to time the band's uncredited screamo specialist jumps in to mix things up and share the spotlight with Neilson.  Furthermore, Neilson's vocals are generally less whinny than on his debut, consequently enhancing most tracks' listenability.  Unfortunately the band's painfully cliched lyrics still define most songs, but the increased instrumental complexity often had me ignoring Neilson's words in favour of the guitar solos and melodies.  

Based on my history with Senses Fail, I really can't believe how much I've enjoyed Life Is Not A Waiting Room.  Needless to say, Senses Fail fans should love this release.  And if you've hated the band up until this point, then it is time to give them a second shot.

The Ghost Stories - Subliminal Messages

Artist: The Ghost Stories

Album: Subliminal Messages

Label: Big E's Lone Star Record Hop

There's only one word that comes to mind after listening to Houston, Texas' Psychobilly band The Ghost Stories: stupid.  I wish I could put a positive spin on the term, but what these guys have produced in their debut album, Subliminal Messages, just boggles the mind, leading to oh so many "why the hell am I listening to this?" and even a few "what did I just hear?" moments.  

To start with, the lead vocalist's voice can only be described as a continuous barrage of something that sounds like former Krewmen vocalist Mad Dog Cole's highest pitch squealing.  It's rough on the ears and provides for a highly disjointed delivery.  Instrumentally, the band's tempo is just way to fast for the guitarist's skill.  This is a band that focuses on the "psycho" in psychobilly to detrimental heights.  Notes feel incomplete and really sloppy in their fastest songs, including "Corpse Love," "Get You Into Bed," and "She Called Me Alien."  To their benefit, when they slow things down they show a good understanding of the genre and things tend to fall in place a little better.  The last two tracks, "Moon Shinin' Licks" and "Psychos Logos," even show a little promise.

Lyrically, unfunny poop jokes, jokes about incest, and needless cover songs further hurt the band's appeal.  The appropriately titled "Poop Song" plays like an incredibly generic rockabilly track, and offers a lyrical juxtaposition with the style - essentially making it a 1950s song about poop.  Lead vocalist "Pachuco" sings "I've been poop'n in the neighbour's yard," following it up with "I've been poop'n, and scoop'n, all night," and later revealing "I've been poop'n in the grass and in the sand, poop in my hair and poop in my hands."  Such grade school humour is just really not that funny as a whole track, it's like satire without the funny.  There's also a dreadful pseudo-cover of The Beastie Boys' "Fight For Your Right" (Renamed Fight Fer Yer Right), which adds a verse about "poop and pee" and references The Ghost Stories themselves, which again, just isn't funny beyond the first chorus.  More confusingly, they band almost ditches a lot of their humour to become a very mediocre psychobilly band half way through the album - I'm guessing that they just ran out of ideas.

Humour based bands are always hit or miss, but until now I just didn't know how far they could miss.  Some people claim that The Ghost Stories honour the humour of the psychobilly pioneers of the 80s.  But those bands, like Batmobile and The Klingonz, were smart with their humour and slick with their tricks.  The Ghost Stories are just lazy and unoriginal.  Unless you're a real toilet humour connoisseur, steer clear of this one at all costs.

Smartbomb - Diamond Heist

Artist: Smartbomb

Album: Diamond Heist

Label: Think Fast! Records

In today's punk soundscape everyone seems to play some variant of the age old genre. Pop-punk, skate-punk, street-punk, cabaret-punk, horror-punk... and the list goes on. Few bands avoid the hyphen, opting for sounds generally described as modern "updates" to the genre. And while inter-genre convergence celebrates various musical styles and influences, bands buying into these trend tends to under-appreciate the power of straight-up "punk." Evidently Worcester, Massachusetts' Smartbomb recognized this reality and has dutifully provided us with an instant classic to fill this void. Playing in a familiar, but very neglected, unhyphenated-punk, their full length debut, Diamond Heist, instantly reminds its listeners of the passion that gave punk music its original draw.

While there are certainly hyphenated influences scattered throughout the album, the traditionally fast tempo and vocal range (that narrowly avoids degrading into a growl) ground the album in an unmistakably "punk" foundation. Songs like "Who's The Terrorist Now" and "Worchester, MA" sound unmistakably influenced by the unyielding drum beats and fast but simple guitar chords of early Anti-Flag and The Unseen. Because of its rock solid punk core when the band subtly draws upon various other schools of punk they momentarily enhance their sound rather than jeopardize their foundation. For example, "Crucial Times" ends with a slower, street-punk influenced backdrop featuring a crowd shouting the track's title. Because this marks the sub-genre's lone appearance, the shouting harnesses street-punk's inherent political conscious, successfully highlighting the song's urgent call for political change. Other songs like "Second View" contain tinges of early Decedents pop-punk, while the slightly smoother vocals on tracks like "Barely Legal" and "Avoid the Lloyd" instantly garner comparisons to 90's melodic skate-punk.

For the album's second half the band slows down the tempo (although still fast by contemporary standards) after a well executed "Intermission." During the first half of the album the tracks never really stop but seamlessly blend together. Consequently, the 23 seconds of pseudo silence (listening carefully reveals ocean waves) commencing the intermission make the slower, punk-rock influenced, bass heavy intermission quite powerful. The "Intermission" also helps ease the listener into the album's second half's more experimental tone. Following the intermission, "In My Dreams" throws a curve ball by introducing barely audible female backing vocals and a very "bouncy" beat.  The final track, "Undercurrents," even throws in a couple rock inspired guitar solos and some bass work that wouldn't sound out of place in a punkabilly tune. Throughout the entire album socially conscious lyrics call for change. The lyrical continuity also helps bind the later more experimental tracks with the more traditional songs that define pre-intermission Diamond Heist.

All together, Diamond Heist provides a pleasant surprise for those of us yearning for new bands who pay respect to unhyphenated "punk."  For this, Smartbomb delivers in spades and will likely find itself in heavy rotation on my playlists.

Announcement

Sorry to break the news, but with my plans to start up school again in January I'm going to have to curb my review time.  That means I'm going to be easing into it this change, and starting in December, I'm only going to post two reviews a week (Tuesday and Thursday), and then in January I'll struggle for a single review per week (Tuesday).  But there is good news!  My other blog, Download Free Punk Albums will see increased activity, as I'll be aiming for a single post per week (Saturday to be exact) throughout December, and maybe two per week come January.

I love both of these blogs so I'll do everything in my power to keep them up and running.  Thanks for your continued readership.

The Raygun Cowboys - Self Titled

Artist: Raygun Cowboys

Album: Raygun Cowboys

Label: Stumble Records

Upon hearing the first three tracks on the Raygun Cowboys' self titled album, my first thought was "psychobilly with ska-inspired trumpets and trombones?!"  I know I'm delving head first into this review, but the first three tracks of this Edmonton, Alberta quintet's debut boast some of the freshest interpretations of the genre I've encountered in years.  The first track, "Asbestos Rock" eases the listener into this mashup by omitting vocals, allowing the instruments time to introduce themselves.  Oakland Valleau's furiously paced slapping of his upright bass brings initial comparisons to psychobilly greats like Gorilla or 80's era The Krewmen.  Meanwhile, the track introduces the horn section through several short bursts, eventually leading into a full on trumpet and trombone duet.  The second track, "Devil on My Mind," continues Valleau's frantic pace, continuing making full use of the horn section, but introduces Jon Christopherson's, slightly echoey, rockabilly vocals.  It's hard to imagine a more natural execution.  The third track, "Dead End Girl," adds a little country into the mix, with the guitaring forcing initial comparisons to creepy country crooners The Coffinshakers. 

Sadly, the next six tracks depart from originality and dive right into a slew of well executed but fairly unoriginal rockabilly tunes.  To the band's credit though, the forth track, "Devil Son," successfully transitions between the styles, making the switch into mediocre rockabilly tunes including "Light Me Up," "Come Back to Me," and the intensionally sloppy drinking anthem, "For the Whiskey," almost tollerable.  There are a few bright moments though, including "Light Me Up" and "Come Back to Me's," respectively, fine rockabilly and country inspired guitar solo's.

Thankfully, by the tenth track, "Dead King's Rise," the Raygun Cowboys return to form.  The track, although still without a horn section, offers grand punk inspired choruses with sweeping "woahs."  The final track, "Attack of the 50's," concludes the album using exactly what made the first three tracks so successful - the thick slapping of the double bass, the brass section's short horn bursts, and the speedy toe-tapping melody, all make a welcome return for a final farewell. 

Raygun Cowboys' offer a great full length debut that should excite anyone who enjoys psychobilly or rockabilly.  And while the moments of brilliance are often offset by stretches of mediocrity, when the Cowboys are on their game they offer some of the best tunes in the genre today.

Dead To Me - Little Brother

Artist: Dead To Me

Album: Little Brother

Label: Fat Wreck Chords

Since the late 90's, "pop-punk" has taken on more than one meaning.  On the one hand, there's the simple riffs and minimalist style that defines Ramones style pop-punk, kept alive today by bands like The Copyrights and The Methadones.  But on the other hand, there's the punk that started in the mid 90's defined by New Found Glory whinny styled vocals, later evolving into today's Falloutboy and Panic At the Disco.  Generally speaking, fans of the Falloutboys find minimalist punk "too boring," while fans of minimalist punk find the legions of Falloutboys "too poppy."  Occasionally a band comes along that meshes both styles together and finds acceptance in both traditionally opposed camps.  San Francisco's Dead To Me is one of those bands.  

I can best describe Dead To Me as a pop-punk band that keeps its riffs simple, adds a few flourishes from song to song, and remains memorable thanks to Jack Dalrymple's slurred but understandable vocals.  Their latest release, the five song EP Little Brother, follows their favourably received 2006 debut.  The first two songs clock in under two and a half minutes, delving into the meat of the tracks without as much as an introduction.  While both claim the title of the simplest songs on the album, they are uncharacteristically lackluster.  Both songs blend together, sharing an identical tempo and song structure, making them almost indistinguishable from one another.  Sometimes I even forgot where one started and the other ended - an issue I never ran into in their 2006 debut, Cuban Ballerina.  Fortunately, the third song introduces a much needed sense of diversity, as well as a few new tricks.  The title track, Little Brother, starts with an uncharacteristically slow tempo and eventually introduces a catchy ska-inspired upstroke that feels right at home in Dead To Me's upbeat sound.  Thanks to catchier choruses and hooks, the final two songs feel more memorable than the first couple, allowing the short 14 minute EP to end on a high note.

Despite a less than memorable start, Dead to Me's followup effort shows a band staying true to the unique style that makes them appreciable by fans of various schools of pop-punk.  Little Brother also shows also a band not afraid to experiment with that same winning formula.  Rejoice pop-punk fans, this one's a keeper.   

The Matadors - Sweet Revenge

Artist: The Matadors

Album: Sweet Revenge

Label: Stumble Records

Self proclaimed masters of "Hellbilly" The Matadors have seen a lot of drama since their last album.  Their bassist deserted them in the midst of recording, they were ripped off by former members, had shows unexpectedly canned, and were the victims of unsubstantiated rumors announcing the band's demise.  I can only imagine the fact that the fact that I'm holding The Matadors' new disc, Sweet Revenge, in my hands right now makes frontman "Hooch" quite pleased.  But simply releasing the disc is only a small part of any band's goal, so upon opening the case my real question became whether these setbacks took their toll on Hooch's musicianship.

In many ways, after the first listen I found Sweet Revenge to be a step backwards for the band - not in musicianship, but in the band's own chronology.  2005's Hellbilly 9000, an album with lyrical content heavily influenced by modern psychobilly trends, lathered on excessive polish and production value, including no shortage of B-movie sound-bites and spoken word sections.  "Sweet Revenge" draws most of its inspiration from the band's lesser known albums, "Hellblazin'" and "The Devil's Music," released between 2000 and 2002 respectively.  While a toe-tapping  neorockabilly core has always defined The Matadors, much like the older albums, Sweet Revenge draws heavily on country as a supplementary influence.  The first track, "That's How She Died," actually starts off with a 40 second western inspired acoustic intro before starting up the rest of the band.  Even then, half way through the song Hooch fires up the old banjo for a fierce solo, in effect clearly defining the album's direction.  

Lyrically, Sweet Revenge also aligns itself with Hooch's earlier efforts.  Unlike Horrorbilly 9000's fantastical songs about undead armies of zombie sluts, The Matadors return to their Luciferian tradition of endorsing earthly sins like alcohol abuse and random sexual encounters.  Songs like "Drunk and Drivin'" explore the thrill of racing down a dark highway while under the influence, and "Faith in Booze" endorses alcohol as the solution to all of life's problems.  Other songs, like "The Devil Taught Me How," detail The Matadors' backstory, explaining how the band members sold their souls to the devil in exchange for fame, fortune, and demonically guided musicianship.  Although on paper such themes may seem crude, The Matadors always maintain a very "fun," party-like feel to their songs.

So much could have gone wrong with this release.  As mentioned in the lyric booklet, all songs were recorded in 2007 and 2008, a period that, according to Hooch, "SHOULD have taken WAY less time;" and in the wake of losing their bassist the booklet even credits four bass players, including Hooch himself.  Sweet Revenge could have been a scattered mess, but thankfully the album's seamless combination of the band's various influences produces their most fully realized album to date.  As cliche as I may sound, by overcoming the drama surrounding the past few years I think it's safe to say that Hooch has earned his Sweet Revenge.

The Hyperjax - The Wildest Card

Artist: The Hyperjax

Album: The Wildest Card

Label: Cherry Bomb Recordings

The first thought that crossed my mind when I heard The Hyperjax was "my, these vocals are different."  I wasn't really sure what to think.  Imagine a psychobilly band fronted by Millencolin's frontman Nikola Sarcevic and you'll have a pretty good idea of what to expect - over-pronounced words with a slightly goofy overtone.  Lead vocalist Sam Woods almost sounds like that goofy voice from The Offspring's classic opener "Disclaimer," or in a more reasonable comparison, a less sloppy version of Frank Cassila of the Voodoo Glow Skulls.  In any case, his vocals are an acquired taste that will either attract or repulse most listeners - there's really no middle ground here.

Those that look past the "unconventional" vocals will find a fairly diverse range of punkabilly tunes in The Hyperjax latest album, The Wildest Card.  The album starts off with a few really infectious toe tappers including the title track, "Madam Butterfly," and "No Expectations," all defined by a speedy upright double bass and some well placed guitar solos.  But six songs in comes the album's real gem, "Beggar's Belief."  Instrumentally there's room for comparison to the late Gutter Demons.  The upright double bass echos hypnotically, and the guitar riffs quiver with a haunting amount of distortion.  Its a great sound that many strive for, but that few psychobilly bands achieve.  After this high point the album retains interest by shifting between genre-related styles.  "Main Spirit Weind" offers a pseudo-acoustic vibe, while "Talkin' New York City" provides an uplifting rockabilly toe-tapper.  Others like "So I Hold On" and "Henry Chinaski" provide a welcome dose of old-school rock'n roll rhythms.  The final two tracks return The Hyperjax to their punkabilly core, reminding the listener of exactly where these boys' musical loyalties rest.  

The band matches Sam Woods' goofy voice with some fairly comical lyrics.  For example, beggar's belief includes a story about a homeless man who has "never done a full days work 'cause he's an anarchist/complains about the government but reaps its benefits."  Unfortunately, Woods' wacky voice renders many parts of songs partially indecipherable - a disappointing reality since The Hyperjax steer clear of cliched psychobilly content.

If you can get past the odd vocals there's a lot to like here.  Fun lyrics, bouncy beats, and a nice survey of related genres should give The Wildest Card a lot of re-playability.

No Torso - Ready Already

Artist: No Torso

Album: Ready Already

Label: Asian Man Records

Despite existing in Europe for the past six years, the No Torso's distinctive ska beats did not formally reached the North American shores until 2006.  I have to admit, I fall into that category of people unfamiliar with No Torso and am just finding introduction to the group with their six song 2008 Ready Already EP.  Truthfully I'm appalled at my lack of familiarity because No Torso might just be one of the only ska bands to genuinely advance the stagnant genre past 90's third wave nostalgia.  Critics applauded Big D and the Kids Table's Strictly Rude album as the most important ska album of the decade - but I didn't really buy into that, it simply drew too heavily on past influences instead of looking ahead.  On the other hand, No Torso have crafted a sound that subtly draws upon almost every ska influence imaginable, while sounding incredibly fresh and relevant to todays music.  

They accomplish this by having a lead vocalist, Lars Oskarssen, with an incredibly smooth voice, and a slight but evident "indie" orientation that produces a very soulful flow to most tracks - quite a mouthful for something that feels so natural.  The band also consists of a massive eight members, including a sizable and incredibly tight brass section.  Thankfully nothing is overused since the band draws upon trumpets, horns and their jazzy sax for specific purposes.  Instrumentally, many track intros, with their short and bouncy trumpet blows, draw initial comparisons to bands like Boston's Mighty Mighty Bosstones.  But while they retain the Bosstones' "big" feel, the tracks subtly morph into their own entities.  For example, after a very reggae inspired introduction, a portion of "You Tell Me's" chorus actually had me making comparisons to New York Punk Cabaret The World/Inferno Friendship Society.  Meanwhile, other tracks like "Oh Brother" take on a "swing" inspired feel.  To say the least, finding this many influences in six tracks is a rarity.  

Lyrically, No Torso preaches an incredibly sunny outlook on life not uncommon to ska groups.  Even tracks about loss an disapointment, like "Suffering in Stereo," emit a sense of optimism. Thankfully though, the soundscape overshadows the lyrics, allowing for overlooking their cliched nature.

In six songs and 17 minutes No Torso demonstrates a refreshing interpretation of ska.  Their sparing use of their immense horn section and integration of various influences make them accessible to practically anyone.  Because of such wide appeal, I anticipate finding Ready Already on various year end lists.

Tim Barry - Manchester

Artist: Tim Barry

Album: Manchester

Label: Suburban Home

Tim Barry, lead singer of punk band Avail for 20 year, basically started the current "punk singer gone country/folk solo star" trend back in 2005 - a full two years before Chuck "Ragan mania" hit.  Thus, in previous releases Barry's influences were purely his own.  He defined his solo persona mostly through classic country influences like Johnny Cash and Weylon Jennings.  The problem was that he just wasn't that great - his songs were bland and boring.  But this is his first release since Ragan mania hit, and Barry seems to be listening to the current trends (trends that aren't recent at all in the grand scheme of things).  Most of the time I'd criticize such blatant copycatism, but in this case Barry has deepened his foundation and expanded his sound, making his new album, Manchester, more than worth a repeat listen.

While Manchester retains some purely country inspired tracks like "Stagcity Gone" and "Tile Gone," he only keeps the most uplifting, toe-tapping country material - the highlight of his previous releases.  The majority of his new tracks incorporate a subtle musical arsenal, not unlike labelmates Two Cow Garage.  Soft backing piano keys, and long, strung out violin strokes echo throughout tracks like "222," and bouncy, banjo led folk narratives like "South Hill" quickly become favourites.  In many ways, Barry's new tracks may as well have been composed by Ragan himself.  Thankfully lyrics become a key difference that distance Barry from the over mentioned Chuck Ragan.  

Barry's lyrics have a very "contemporary" approach.  Similarly to Tom Morello's folk project, "The Nightwatchman," Barry sings about current social and political issues without much subtlety.  For example, in the previously mentioned "South Hill," Barry takes a stab at the US military's recruiting practices, and follows it up with a first person perspective of one soldier's experience in Iraq that leaves him paralyzed from the waist down.  Several other tracks, like Tacoma, deal with personal betrayal and disappointment, and others deal with wandering soul searchers.  While songs protesting Iraq and about lone cowboys may tread dangerously close to cliche territory, Barry's voice carries a sense of sincerity that keeps the songs appreciable.  

Overall, Tim Barry gives us his best effort yet, and despite really only finding his voice after borrowing from his peers, there's a lot to like in Manchester, and certainly enough to recommend to fans of Barry and the genre.

Tom Gabel - Heart Burns

Artist: Tom Gabel

Album: Heart Burns

Label: Sire/Warner

Since Against Me! skyrocketed to mainstream fame a short year ago, their success and current sound has become the stuff of heated underground debate.  Did they sell their souls?  Are they still a "folk-punk" band?  Are they hypocrites?  And the list of accusations and questions goes on.  Generally the band did a good job of ignoring criticism (with the exception of a few explosive comments).  But with the release of lead vocalist Tom Gabel's solo debut a year later, I can't help but think those comments may have stung Gabel more than initially let on.

Throughout Heart Burns Tom Gabel arguably tries to acquaint new fans with his band's legacy, and reacquaint skeptical old fans with his new self.  While Butch Vig (Nirvana, Against Me!) retains his controversial position as executive producer (layering on excessive coats of polish), Heart Burns takes Gabel back to to a simpler time.  When it comes right down to it, most tracks consist of a guitar (acoustic or otherwise), Gabel's signature vocals, and a drum machine.  Basically, imagine if Butch Vig produced Against Me!'s crown gem, 2003's As the Eternal Cowboy.

For the first time in a while Gabel picks up his trusty acoustic guitar.  "Harsh Realms" finds Gabel in his loneliest track, crying "don't abandon me" while coping with day to day demands of the modern world.  Meanwhile, the grand acoustic choruses of "100 Years of War" perfectly capture the essence of Against Me!'s past social minded punk anthems.  Reassuringly, Gabel's signature disjointed lyrical structure resurfaces in "Conceptual Paths," squeezing the most out of his melodies.   Here he crams phrases like "Conceptual paths wide open, I'm Scared to Death/Existential weight no longer holds you back" into brief choral moments.  When Gabel picks up his electric guitar he plays a minimalist acoustic style. For example, in "Cowards Sing at Night" he entirely ditches the drum machine, and in "Amputations," a more rock influenced track with an explosive chorus and a cameo from Alkaline Trio's Matt Skiba, the lack of bass prevents the song from sounding too "grand."

In "Anna is a Stool Pigeon," no doubt the album's intended centerpiece, Gabel's old friend Chuck Ragan (of recent solo fame) makes a brief appearance, reminding fans that Gabel hasn't forgotten about his old friends. The song, a catchy four minute tale about a poitical activist mistakenly "falling in love with an FBI informant," expands Gabel's sound thanks to Ragan's harmonica, which has become senonomous with folk music in recent years. Unfortunately though, the song's high caliber serves more as a reminder of how great Gabel is with a full band, ultimately detracting from the rest of the album.  But generally, I found it quite refreshing listening to Gabel rediscover his folk roots.

However, I cannot conclude this review without discussing the album's opening track, and most out of place song, Heart Burns.  While it's a damn catchy tune, the steadfast guitaring and overpowering echo distortion feel like something from Matt Skiba's side project, Heavens - not necessarily a bad thing, but very confusing as an opener to a folk-dominated album.  Thankfully though, the digital version of the album comes with an acoustic version of the song - which I recommend replacing the official version with on your music player.

Overall Heart Burns provides an interesting 7 song survey of Tom Gabel's past and current career, and makes me quite curious about his approach with Against Me!'s next album.   

Sarah Blackwood - Way Back Home

Artist: Sarah Blackwood

Album: Way Back Home

Label: Stomp Records

Before Sarah Blackwood (aka "Sarah Sin") replaced her sister as the lead vocalist of breakout psychobilly band The Creepshow a little over a year and a half ago, no one knew who she was, and I doubt anyone would have signed her has a solo artist.  However, upon joining The Creepshow she inherited her sister's spotlight.  Subsequently, when the folks over at Stomp Records signed The Creepshow for their second album, Blackwood was able to sell herself to talent scouts as a competent, or at least profitable, solo artist.  The result?  Sarah Blackwood launched her first solo record, "Way Back Home," just two months after her studio debut with The Creepshow.

For the most part, Blackwood proves a competent singer/songwriter, and at the very least has a very strong voice.  Generally her vocals lean toward the more polished side of her Sarah Sin persona, reminiscent of The Creepshow's lone acoustic track, "The Garden," as opposed to the "smokey" vocals she's typically known for.  Although established fans may need to reacquaint themselves, her voice makes her quite approachable for a country or folk audience.

Stylistically her acoustic set bounces between straight-up country, a dash of soul, and of course the rockabilly roots inherent in her psychobilly background.  The album starts with "Lonely Parade," a quick paced, country/rockabilly influenced opener with fairly dark lyrics detailing "demon's intensions" and hopeless situations.  Usually an album's first track sets the record's tone, hinting at tracks to come, so I could see "Lonely Parade" raising a fan of The Creepshow's  hopes.  However, the second track, "Dyin' Day," suddenly launches into a purely country influenced based love ballad, completely changing the mood.  Then the third track shifts back to the dark opener, followed with the next track leaning back to the sunny country sound that defined the second track.  The trend continues, creating it's most out of place moment with "Bad job Jesus," a toe tapping blues influenced country tune about a "devil girl" who wakes up in a bed next to a "dead boy."  Because Blackwood continuously bounces back and forth between these two radically different approaches, the album never truly defines itself.  

Looking at the cover art, a picture of a smiling and very tattooed Sarah Blackwood in front of a quaint little country home, I suspect Blackwood may have been trying to reveal her many sides and musical influences.  But it just doesn't work as a single piece.  Her two sides are simply too different, making the album variation read more more like an identity crisis than an artistic statement.

Had Sarah Blackwood spent more time with The Creepshow before debuting her solo career she might have had a better idea of how to define herself.  As it stands, I have a hard time understanding who the album is geared towards.  The album has some undeniably great tracks, but I found it hard to appreciate them amidst the confusion.  Here's the bottom line: although Sarah Blackwood has an astounding vocal capacity, her solo career is premature.

One day I'm going to write an editorial about the sudden overload of lead punk vocalists putting out folk influenced solo albums. Until then, I have this review.