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

[audio:http://www.jadedinchicago.com/wp-content/uploads/2011/04/Help-Is-On-The-Way.mp3,|titles=Help Is On The Way]

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.

[audio:http://www.jadedinchicago.com/wp-content/uploads/2011/08/05-Evil-Eye.mp3|titles=Evil Eye]

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.

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.

Asian Man Records – Release Date: 5/10/11

Spraynard is a relatively new band from West Chester, Pennsylvania. Funtitled is their debut full-length for Asian Man Records and comparisons could conceivably be made to pop punk greats like Weston and Digger. In terms of a more contemporary association, Spraynard sounds somewhat reminiscent of Broadway Calls, but to be fair they really have a sound that’s all their own. “The Denver Broncos vs. The Denver Broncos” is a prominent song that deals with abandoning adolescent endeavors in favor of pursuing more ambitious goals. It captures the youthful exuberance of Kerplunk-era Green Day and displays the band’s aptitude for crafting uniquely-structured songs with unconventional tempo changes. “We’re Pretty Nice Guys” spotlights the clever and competent drumming of Patrick Ware, which is evident throughout the entire record, but especially apparent on this track. “Homies Where the Heart Is” features the disc’s catchiest and most memorable chorus, and truly exemplifies what a great summertime record Funtitled is. There’s even a song called “Little Green Ghouls” that of course references the TV show It’s Always Sunny in Philadelphia, and that’s pretty awesome. Spraynard doesn’t take itself too seriously and above all is about having fun while making music. The three members work extremely well together and are adept at feeding off each other’s energy to get the most out of their songs. It may sound somewhat humorous, but a lot of young bands don’t know how to do that. So long as this trio stays together they will likely have a very bright future. Be sure to check out the band on tour this summer and listen to the song “Homies Where the Heart Is” below.

[audio:http://www.jadedinchicago.com/wp-content/uploads/2011/04/09-Homies-Where-The-Heart-Is.mp3|titles=Homies Where The Heart Is]

Self-Released – Release Date: 2/1/11

It’s a long drive and you’re behind the wheel after a show that ran a little too late. What’s worse is the weather is starting to turn on you. The sky opens up and torrential rain envelops the van. You turn your wipers on and lean in closer, gripping the wheel until your knuckles turn white. The radio rumbles low with the gruff vocals of Over Stars & Gutters, while your bandmates doze in backseat and shotgun. “This is our great escape; it feels like a fucking mistake.” The song periodically gives way to FM static and snores. It’s pitch black, aside from your headlights, but you just follow the dotted lines. Lighting strikes, illuminating the terrain for miles in every direction and you wish everyone was awake to see it. “Whoa!”. The dudes are awake and you realize you were all in this together from the beginning. “Sometimes the only faith I find lies in a bastard’s words, shouted through shredded vocal cords, torn by whiskey, gravel and smoke, but at least tonight, I know I’m not alone.” Someone else offers to drive but you press on for another couple of hours. You’re road worn but not worn out. Put your time in, you can get wasted at the next show.

– Vito Nusret

6131 Records – Release Date: 1/11/11

So you elbow your way up to the front of the teeming basement and gasp your first breaths not choked by beer and B.O. since the show started. It’s too damn hot and crowded. You check your phone and wonder if you should catch the next bus home or stay for one more band. The flyer said your friend’s band was playing last but they somehow got moved to first, making you miss them and leaving a chip on your shoulder the whole night, no matter how many cheap beers you knock back. You drop your empty can on the floor and start making your way back through the crowd to the door. Half drunk, the familiar ring of guitar tuning interrupts the trajectory of your pity party. Without much ado, Joyce Manor rips into their first song. A few chords in and you can already tell this won’t be your typical punk rock affair. It’s fast and aggressive but with wit and humor. There’s a good sense of melody and even some gang vocals that have you screaming along before you know it. The next thing you realize you’re back in the thick of it with your arms around strangers, stomping and singing along without even knowing the lyrics, but recognizing words about failed relationships, disappointment and self doubt, all taken in stride with a good dose of optimism. It’s nothing fancy, just honest music from four Southern California dudes with a penchant for early ‘90s East Bay punk. Sweat-soaked and satisfied, you stumble out into the brisk night singing over and over, “Just a few miles down, as the streets count backwards I realize it’s true, everything reminds me of you!”.

– Vito Nusret

No Idea Records – Release Date: 4/26/11

Having reunited in 2009 after a five-year hiatus, Small Brown Bike is back with Fell & Found, their first new album in nearly eight years. It features the band’s original lineup and was produced by J Robbins at Chicago’s Million Yen Studios. Robbins, best known for his work with Jets to Brazil, The Dismemberment Plan and Promise Ring, did a great job of understanding Small Brown Bike’s vision and really bringing these songs to life. In some ways, Fell & Found differs from their prior work in that there’s less distortion on the guitars and cleaner-sounding vocals, but the music still hits just as hard when it needs to. In other words, the band has mastered its dynamics, recognizing when to play soft and when to play loud, which anchors the songwriting and allows for further experimentation. Above all, this record is a complete work that’s both layered and well-executed. At times it’s reminiscent of some of the finer post-punk that was being made in the mid-‘90s, but it also sounds like they put a contemporary spin on the positive characteristics they were previously known for. One thing that’s apparent upon first listen is the creative and powerful drumming of Dan Jaquint. It truly sets the tone for the entire album and does a good job of complimenting the plodding, burly bass work of Ben Reed. Not to be outdone, guitarists Travis Dopp and Mike Reed provide frequent outstanding guitar leads, while the lyrics are likely to be memorized after only a handful of listens. Small Brown Bike has returned with a vengeance and it sounds as though they never took a break. Fell & Found is thus far one of the best records of 2011 and one of the most memorable that No Idea has put out in some time, and that’s saying something.

Paper + Plastick – Release Date: 2/22/11

Red City Radio is a relatively new band that’s based out of Oklahoma City. This is their debut full-length and it contains a total of 13 tracks, all of which are very much in the vein of Hot Water Music meets Off With Their Heads. There’s also a definite ‘90s, West Coast punk influence, but what really separates Red City Radio from a lot of its contemporaries is their proficient musicianship. Led by rock-solid, powerhouse drumming and a plethora of intricate and creative guitar riffs, these guys absolutely have the potential to be hugely popular in the coming years. Track two, “The Benefits of Motion”, opens with gravelly, earnestly-delivered vocals that declare, “We’ll take what we can get, we’re not taking it for granted”. It really sets the tone for the rest of the album and can’t help but make the listener want to sing-along each and every time. “You’re Poison, I’m Well” features an undeniably catchy chorus that’s instantly memorable, while “This Day’s Seen Better Bars” has some of the disc’s most sincere and inspiring lyrics. It’s a song about touring and missing home, which isn’t exactly a new topic for songwriters, but what makes it special is the vast amount of conviction and passion that it’s sung with. “Spinning in Circles is a Gateway Drug” and “Too Much Whiskey, Not Enough Blankets” are two additional beer-soaked, emotionally-driven anthems that are sure to become fan favorites. As long as they continue to evolve and find more of their own sound, Red City Radio will definitely have what it takes to be the next big thing.

Born & Bred – Release Date: 3/01/11

This is a concept album of sorts, based around a fictional and recently departed character named Cornelius Larkin. It tells the story of Larkin’s life, (Irish immigrant, working-class hero, war veteran) and thematically speaking, works exceptionally well. The record is really a celebration of living life to its fullest, and that sentiment is further bolstered by producer Ted Hutt, who provides Going Out in Style with a lively, energetic recording. Another point of interest is the band’s expanded use of various instruments, (accordion, banjo, mandolin, harmonica, bagpipes) which adds Celtic flair, but also makes for a more diverse and enjoyable listen. It’s tough to say that this is Dropkick Murphys’ best album overall, but it’s certainly up there with some of their finer work, like Blackout or The Warrior’s Code. “Hang ‘Em High” is up first and it’s a rousing, bagpipe-led romp with a huge, melodic chorus and loads of gang vocals. “The Hardest Mile” features a galloping rhythm and spotlights Tim Brennan’s accordion expertise, while “Memorial Day”, the disc’s catchiest song, offers an uplifting message of perseverance and determination. “Peg O’ My Heart” is a sunny-sounding love song that boasts a guest vocal appearance by none other than Bruce Springsteen. It’s a great song in its own right, but the presence of The Boss really makes it unforgettable. Additional highlights include the title track, which has vocal cameos by Fat Mike of NOFX and Chris Cheney of The Living End, as well as a song about old school punk shows, aptly titled “Sunday Hardcore Matinee”. Going Out in Style is recommended for diehard fans and newcomers alike. It’s also suggested for those who lost touch with the group and are looking to become reacquainted. The bottom line is that this is a phenomenal record by a legendary band. There’s no excuse not to give it a spin.

Red Scare – Release Date: 2/15/11

The Heat Tape is Red Scare’s latest signing and features Brett Hunter of Copyrights and Dear Landlord fame on guitar and vocals. Unlike the aforementioned bands, The Heat Tape is a decidedly lo-fi affair that enjoys a definite garage rock vibe. They’re certainly different than a lot of what’s out there today, making them a good fix for those in search of something new. The album begins with “Spend It”, a song that’s fondly reminiscent of The Thermals, and quickly segues into a tune about turning 30 called “21^st Century Turd”. “Rich Man” is a fuzzed-out gem with some of the record’s best hooks, while “Ah Ha Ah” ups the tempo and packs some serious punch in two minutes flat. “Feel No Good” and “Crackin’ Up” evoke a ‘90s alternative mood, and “Idle Man” closes the disc with the band rockin’ out and firing on all cylinders. There really isn’t a weak link to be found amongst these 12 tracks, and the fact that they flow together makes it really easy to listen to from start to finish. Beneath the unpolished recording and distorted vocals lies what matters most, which is quality songwriting, and it’s found in abundance on Raccoon Valley Recordings. This is absolutely a solid debut that’s worth checking out promptly.

Fat Wreck Chords – Release Date: 1/18/11

This EP is nothing short of a barnburner and quite the Fat Wreck Chords debut for Cobra Skulls. Each song is more than memorable and this material easily supersedes almost all of what the band has done prior. Every track is layered, well-executed and plainly kicks ass. “Doomsday Parade” is a punchy, rhythmic number that employs a distinct chord progression and lyrics involving political and social unrest in Africa. It’s also the sort of song that would probably illicit plenty of crowd movement and participation in a live setting. “ICE in the Night” is a sunny-sounding rockabilly tune that deals with immigration, while “Hot Sand” uses giant riffs and a Clash-like vibe to talk about the media’s questionable reporting of America’s wars. “Give You Nothing” is a straightforward and honorable Bad Religion cover, and “Life In Vain”, the fifth and final entry, is a poppy ditty that’s possibly the best of the bunch. It’s a bouncy love song that laments a failed relationship and utilizes ska undertones, loads of sweet backing vocals and one hell of an infectious hook to get the job done. Potential listeners should not hesitate in purchasing Bringing the War Home. It contains zero filler and makes a strong case for Cobra Skulls likely ascending to become one of Fat’s bigger mainstay bands of the future.

Epitaph – Release Date: 1/18/11

It’s been seven years since the release of their last album, but Social Distortion is now back with a new record, entitled Hard Times and Nursery Rhymes. By and large, it doesn’t stray far from their patented blend of punk, rockabilly and blues, though compared to 2004’s Sex, Love and Rock ‘n’ Roll, it clearly favors traditional rock influences more so than punk tendencies. The disc gets underway with an instrumental called “Road Zombie”, which features an aggressive tone and numerous impressive guitar solos. “Gimme the Sweet and Lowdown” opens with palm-muted guitar and the trademark snarl of legendary front-man Mike Ness, and like sunlight shining through the clouds, it just kind of sounds perfect. Also, the song is about as sugary, well-crafted and catchy as they come. “Writing on the Wall” slows the tempo down a bit, adds piano accents and tackles the age-old topic of lost love. It might be a cliché theme, but Ness’s sincerity and his ability to pull at the heartstrings really make it one of the top entries on the album. The record draws to a close with “Still Alive”, a fitting tale of resiliency and perseverance. Further points of interest include a cover of the Hank Williams song “Alone and Forsaken” and the fact that Ness produced this album himself. By no means is Hard Times and Nursery Rhymes Social D’s best record, but by all accounts it’s a sturdy effort that will surely satisfy longtime fans. Buy it and learn all the words before they inevitably roll through your town in the near future.