Asian Man Records – Release Date: 2/14/12

Classics of Love started in 2008 and is of course fronted by former Operation Ivy vocalist Jesse Michaels. The band’s lineup is rounded out by the members of a group called Hard Girls and this debut full-length is their first release since a 2009 EP called Walking in Shadows. What’s evident after only a few listens of the new album is how much Classics of Love has developed over the last three years. The music and lyrics flow together seamlessly, showcasing four individuals that have grown quite adept at playing together. There’s also a definite and genuine sense of urgency found throughout the record, which is something that simply can’t be manufactured. It’s reminiscent of one of the characteristics that made Operation Ivy so great, but make no mistake, Classics of Love is indeed a unique band with its own distinct sound. Their influences include ‘80s West Coast hardcore, ska/punk and frenzied, fast-paced rock, but perhaps most impressive is the band’s ability to frame these various genres into one cohesive style. The production, courtesy of Jack Shirley, is raw and energy-packed, and really complements the songs. The lyrics speak of disenchantment, corruption of power and an opposition to various injustices, all of which are things that most can likely relate to nowadays. By all accounts, Classics of Love has made a comprehensive and highly impressive introductory album. Its songs are passionate and to the point, and in the best possible way, they leave the listener wanting more. Check out one of them below, called “Dissolve.”

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Cassette Deck Media – Release Date: 10/21/11

When bands do split records it always comes off as a bit of a competition. Despite the fact that we know the bands involved are probably all friends, it’s still fun to see them go head to head, three songs each, no holds barred. Here we have two apparently worthy Chicago bands, a funny cover concept, (The Beach Boys’ Pet Sounds take off) and some pretty, mixed grey vinyl. But, you might ask, who wins? The Sky We Scrape starts the whole thing out with “Southern Hospitality”, a mid-tempo grinder in the vein of Iron Chic or Hot Water Music. Catchy, sing-along chorus; I like it. Nice, clear, but not over-produced production too, (courtesy of Corey Wills at The Bunker). Second and third songs “Albatross” and “Fatima” add some heaviness and more intricate guitar work to the mix, but still remain catchy as hell. All in all, three very solid songs. Hawkbit, (is that a Watership Down reference?) kicks off side two with “Working in the Dungeon for the Light”, a ragged, Lawrence Arms-esque shouter with some nice bass playing. “MLK” adds some dissonance to the gang vocals, making for a more distinctive sound. In “No Folk Lies”, it seems Hawkbit saved the best for last. Kind of a Planes Mistaken For Stars/Iron Chic hybrid, catchy and driving, good stuff. So, you’re probably asking, who won, Marc? I dunno, why don’t you listen to both of the damn bands for yourself and decide? What do you think this is, The Voice?

- Marc Ruvolo

Asian Man Records – Release Date: 11/28/11

Former Groovie Ghoulies frontman Kepi Ghoulie is back with a new album titled I Bleed Rock ‘N’ Roll, his first since 2009’s Life Sentence. The album starts out with the short, sweet and defining “Rock ‘N’ Roll Shark,” which sends the strong message that like a shark that stops swimming, Kepi will die if he stops rockin’. “Nikki Lee” is a very upbeat, Chuck Berry-esque rock ‘n’ roll tune, and one of the album’s strongest. The title track reinforces the opener as Kepi sings, “I bleed rock ‘n’ roll. I believe in rock ‘n’ roll. When every single friend is gone, the music just keeps playing on and out into the universe, second verse same as the first.” To Kepi, rock ‘n’ roll is more than just a job or a passion; to him it’s a way of life. Kepi also re-recorded “When I’m Gone,” which originally appeared on his solo EP, Yes Depression. The new version is electrified and the guitar work is reminiscent of something out of a rock ‘n’ roll standard. Another revisited track is “Love to Give,” which originally appeared as “(I’ve Got) Love to Give,” on the Groovie Ghoulies’ final album in 2007, 99 Lives. There is one cover that Kepi chose for this album, and that’s Johnny Thunders’ “Blame It on Mom.” I enjoy Kepi’s cover better because he left out the saxophone. My favorite track on the album is “The Fever,” for its infectious chorus and dedicated lyrics. I’m with Kepi when he says, “What the world needs now is rock ‘n’ roll.” The album closes with a melancholy acoustic song called “Hard to Forget,” which surprised me as a closer. I wish it were toward the middle of the album, so it would serve as a break, but the album is still strong. I Bleed Rock ‘N’ Roll pleasantly surprised me. Kepi branches further from his previous material and continues to make great songs, and also revisit and put a twist on some old ones.

- Jason Duarte

Red Scare Industries – Release Date: 9/13/11

With Borrowed Time, their third full-length and debut album for Red Scare, Nothington has crafted not only their best record yet, but also one of the top releases of 2011. Nothington’s folk-inspired tendencies are still apparent, as is their affinity for bands like Social Distortion and Leatherface, but this time around the focus is mainly on straightforward, melodic punk rock. The end result is a timeless and consistent album that’s both well written and highly listenable. After an initial spin of Borrowed Time, it’s clearly evident that Nothington is a capable band and fully aware of its strengths. There may not be much variation or experimentation on this record, but sometimes that’s okay, especially when this many solid and catchy songs are present. Each entry is built around a sturdy rhythm section, complete with inspired drumming and big bass lines. The vocals are gruff and deal with life’s various struggles, and are teamed with soaring backups and skilled guitar leads. Highlights include the road-weary tale of “Where I Can’t Be Found,” a driving, rhythmic march called “Far to Go,” the mega-anthem that is “St. Andrews Hall” and a somber tune named “Hopeless.” Borrowed Time is an energetic and detailed album that sounds great and improves with every listen. It would likely appeal to a wide range of punk fans, because this record’s combination of classic and contemporary styles should prove relevant for years to come. Check it out now and get to know one of the most promising, on the rise bands around.

Go-Kart Records – Release Date: 5/31/11

Recorded with Mark Michalik at Drasik Studios, (The Swellers, Much The Same, Fireworks, We Are The Union) Dying to Exonerate the World, the second effort from Chicago’s Counterpunch, is a straight-up, in-your-face affair, a no-holds-barred punk rock barrage that while more than slightly indebted to Bad Religion, still delivers with a flavor and style all its own. The disc kicks off with “Heroes and Ghosts,” an awesome, up-tempo, melodic anthem replete with chugging, chunky guitar tones and nicely harmonized vocals, and continues with the assault into the second track, “High Tide for Internal Strife,” which adds a number of interesting breakdowns to the mix. I didn’t get a lyric sheet, but from what I can gather the lyrics are for most part in the ‘personal’ vein, dealing with everyday problems: relationships, working, family, the music scene, with a strong undercurrent of concern for social issues. With track four, Counterpunch decides to mix it up. “And Everybody’s Right (Asshole)” goes for a more swinging, Fall Out Boy-type vibe, adding a horn section to mid-tempo guitars and the ever-present catchy vocal melodies. Overall, Dying to Exonerate the World would, in my opinion, please most fans of melodic punk. It’s a poppy, slightly glossy affair, but with enough grit, bite, speed and most importantly, songwriting ability, to win over even those skeptical of this subgenre of music. Check it out for yourself here.

- Marc Ruvolo

Jump Start Records – Release Date: 8/02/11

With Over Leavitt, Noise By Numbers picks up right where its 2009 debut full-length Yeah, Whatever leaves off, but with a more mellow and introspective disposition. Over Leavitt starts off raw and builds up with “A Song for Emily,” before ripping into “Lost My Way,” which is an energetic, melodic sing-along about finding yourself off the tracks. “Yes, You” sounds like a throwback to the mid-‘80s punk/new wave sound, vaguely reminiscent of an electric, sped-up version of A Flock of Seagulls’ “Space Age Love Song.” “I Don’t Think So” echoes a feeling of disapproval and disgust, and singer/guitarist Dan Schafer repeats himself in such a way that his definitiveness is clear. Over Leavitt takes its time without shedding any of the band’s established qualities. It’s also a diverse album that sees the band perpetuate its geographically-oriented songs, which is a unique quality that I really enjoy about them. One of my favorite aspects of Schafer’s lyrics is how the listener picks up on him conveying something he knows. First you have to trust him and then he becomes your tour guide or teacher for a few minutes and you’re the student. If his story follows specific streets and train lines, it not only creates a scene and sparks imagination, but it humanizes him beyond being just ‘the artist’ and gives us a taste of something we may not already know. Over Leavitt is a matured and developed Noise By Numbers album that conveys the essence of this band wonderfully.

- Jason Duarte

Photo by Katie Hovland

Jump Start/Bermuda Mohawk Productions – Release Date: 8/23/11

What with the pedigree of the members of newish Chicago band All Eyes West, (Jeff Dean has done time with The Bomb and Justin Miller with indie rockers Hinter) one would be hard-pressed to come into the listening experience without some manner of expectations. Thankfully, the band does not disappoint. All Eyes West serve up eight songs of Foo Fighters-inspired rock on their excellent debut disc, along with nods to bands like Drive Like Jehu and Jawbox for good measure. The songs are impassioned, melodic, driving, mid-tempo anthems that seem like they would translate very well in a small, sweaty club environment. The recording is clean, but not overproduced, (Dean handled the recording and mixing duties himself at Million Yen Studios) and suits the material well. My favorite track is “Help Is on the Way”, (you can check it out below) which features some classic guitar work along with interesting tempo changes and the best example of Justin Miller’s Dave Grohl-inspired vocals. All in all, All Eyes West’s debut is recommended as a good purchase for anyone hungry for melodic ‘90s punk done up right. My only complaint has to do with the CD packaging. The band photos were taken by the awesome Katie Hovland and are way, way too small. But that’s just a small quibble in an otherwise great package. All Eyes West play Metro on August 27^th, with reuniting local legends Braid.

- Marc Ruvolo

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Paper + Plastick – Release Date: 7/12/11

Landmines formed in 2005 and hails from Richmond, Virginia. They play punk-influenced hardcore and consequently comparisons are often made to hometown mainstays Avail and Strike Anywhere. Unlike the aforementioned bands, Landmines uses less punk tendencies and favors more classic hardcore traits, similar to bands like Gorilla Biscuits, H2O and Bane. Commerce and Marx is their third release for Paper + Plastick and it’s easily the band’s strongest and most complete effort to date. The song “You Are Number Six” talks about the dangers of the digital age and a need to maintain individuality. It uses a breakneck tempo, shredding guitars and gang vocals to make its point, and enough can’t be said about how great it sounds to hear a contemporary band that’s genuinely pissed off about something. “Evil Eye” is a personal song that addresses change and a desire to maintain a troubled relationship. It’s one of the album’s more melodic tracks and a definite highpoint. Another quality entry is “Left on Memory LN.”, which celebrates friendship and mixes various genres to create a memorable, well-structured song. With Commerce and Marx, Landmines has made a cohesive record that displays the passion and proficiency of the band’s live performances. The album is also noticeably different than what a lot of young, up-and-coming bands are doing nowadays, and that alone should be reason enough to give them a listen. Check out the song “Evil Eye” below.

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Sleep It Off Records – Release Date: 6/20/11

Less Than Jake has returned with Greetings from…, marking their first new material since 2008’s GNV FLA. This EP displays more confidence and focus than the previously mentioned album, and it’s arguably the band’s best effort since their 2003 full-length, Anthem. Recorded by bassist Roger Lima at his own studio, The Moathouse, and mixed and mastered by Descendents/ALL guitarist Stephen Egerton, Greetings from… not only sounds great, it also captures the essence and excitement of Less Than Jake’s celebrated live performances. The first track, “Can’t Yell Any Louder”, is upbeat, hyper-melodic and packed with horns. It’s easily one of the catchiest songs that LTJ has written in recent years, not to mention one of the most ska-influenced. “Goodbye, Mr. Personality” is next and it’s more laidback and mid-tempo, yet retains a strong sense of ska flavor and sounds similar to the band’s Losing Streak album. “Harvey Wallbanger” features plenty of their patented “whoa-oh” vocals and talks of America’s continued economic recession, and it’s followed by an introspective song about wanting to make a difference called “Oldest Trick in the Book”. The final entry, “Life Out Loud”, is fast-paced, straight-ahead punk rock and reminiscent of LTJ favorites like “National Anthem” and “Scott Farcas Takes It on the Chin”. It’s as passionate as it is catchy, and clearly the EP’s standout track. Greetings from… showcases a reenergized Less Than Jake. If this EP serves as a taste of what’s to come, fans should eagerly anticipate the release of their next album.

Photo by Katie Hovland

Boss Tuneage Records – Release Date: 7/11/11

Textbook has been together for over ten years, perfecting their own style of alternative rock that’s influenced by everyone from The Replacements to Naked Raygun. Fronted by former Not Rebecca singer/guitarist Dave Lysien, Textbook has released a total of four full-lengths, and the band’s continued development is clearly apparent on Out Of My Universe. The EP was recorded by Matt Allison at Atlas Studios and sounds reasonably polished, yet retains the right amount of energy and edge. The first song, “Crowding”, is an urgent, fast-paced rocker with classic Midwestern punk inspiration, and it’s followed by “Please Reconsider”, which is a concise, melodic tune that clocks-in at less than two minutes. The title track is up next and it evokes The Hold Steady in terms of its guitar work and enjoys an extremely infectious chorus. “Laugh Out Loud” is a melancholy, mid-tempo song with a slight country influence, while “I Can’t Take You Anywhere” is pure power pop and absolutely the catchiest song on this record. The final entry, “Who’s Sorry Now”, is a fitting conclusion as it showcases nearly all of Textbook’s finest attributes. Such traits include; creative songwriting, earnest lyrics, an ample amount of backing vocals, skilled musicianship and a knack for blending various genres into a unique sound. Out Of My Universe is recommended for fans of Husker Du, Lucero, Gameface or anyone searching for quality, pop-infused rock this summer.

Textbook UK tour dates with The Magnificent:

July 16 – Leeds @ The Well
July 18 – Brixton @ The Windmill
July 19 – Cambridge @ Portland Arms
July 20 – Derby @ Victoria Inn
July 21 – Sheffield @ The Red House
July 22 – Manchester @ Gulliver’s

Sabot Productions – Release Date: 4/12/11

Ninja Gun is a quartet from Valdosta, Georgia and this EP is the band’s first release since their 2008 full-length, Restless Rubes. Roman Nose finds the group focusing more on pop and country influences, as opposed to the southern/indie rock that dominated their last album. What’s surprising is how well this shift in style works. Few bands can experiment and mix varying genres with such success, but Ninja Gun’s exceptional musicianship allows them to do so with ease. In that regard, Roman Nose is the perfect record for someone in search of something new and different. The first song, “That’s Not What I Heard”, talks about corporate greed and the continued decline of America’s economy, and uses a sunny melody, tons of backing vocals and layered instrumentation to solidify what is an extremely catchy opening track. “Hot Rain” leans more in a country direction before seriously rockin’ out at its midway point, while “Lepers in Love” revolves around a huge riff that helps to shape a unique and memorable chorus. Lastly, the title track is a somber lament that appropriately concludes this EP with a haunting rhythm and piano/string accompaniments. If Roman Nose is any indication of what to expect from the next Ninja Gun full-length, then fans of original and creative music everywhere have a lot to look forward to. Don’t wait to check this out if you’re in need of a refreshing change of pace.