Epitaph – Release Date: 6/8/10

For their Epitaph debut, In Desolation, Off With Their Heads has done little to tweak their tried and true formula. Instead, they’ve merely enhanced and perfected it. The band’s songs may typically only contain four chords, but it’s not about the caliber of complexity. What’s paramount is the unique manner in which the arrangements are crafted, as well as the various tempos that are unexpectedly employed. Also significant is singer Ryan Young’s distinctive, gravelly, angst-filled vocal delivery. His lyrics often speak of despair and sorrow, but there’s always at least a shred of hopefulness to be found. Just as Young’s overall performance has progressed, so too has the level of musicianship displayed by the rest of the band, hence creating one of those rare albums that’s not only balanced, but also sets a new benchmark for the group. “Drive” is an energizing opener that gallops with vigorous intensity, and “Trying to Breathe” is a soaring proclamation of exasperation that’s instantly memorable. “I Just Want You to Know” is truly a touching and beautiful pop punk love song, while “Clear the Air” ends the record with striking vulnerability and passion. Previous admirers of OWTH shouldn’t hesitate to acquire this album, for it legitimately is their finest release to date. In Desolation is highly recommended for supporters of Dillinger Four and/or ‘90s East Bay punk, not to mention anyone interested in hearing one of the top offerings put out by Epitaph in years.

Side One Dummy – Release Date: 6/15/10

With American Slang, Gaslight Anthem has assembled its most polished and cohesive album thus far. Having spent the last couple years touring the globe, the record does an outstanding job of spotlighting the band’s musical maturation. It’s also exceedingly listenable from start to finish, even though if from a creative viewpoint, it doesn’t take a lot of risks. Their last album, The ’59 Sound, had several sizable, substantial hits, coupled with a few misfires. American Slang, on the other hand, is comprised of mostly consistent if not pedestrian entries. The title track ushers in the proceedings with abundant confidence, as it evokes the group’s trademark tendencies of working-class nostalgia mixed with a healthy dose of Springsteen and Strummer. It’s a solid song by all accounts, but frankly doesn’t measure up to some of the better songs off The ’59 Sound, like “Great Expectations” or “Here’s Looking at You, Kid”. “The Diamond Church Street Choir” is rather noteworthy and possibly the disc’s most distinct tune, due to an overt jazz influence and the welcomed absence of power chords. On the contrary, “Boxer” is a clear-cut rocker with an unreal guitar lead, affectionately recollecting the group’s punk rock pedigree. Last but not least is “The Spirit of Jazz”, which just might be the album’s number one song, for its impressive symmetry of catchy songwriting and superb lyricism. In summation, American Slang is a mature and reliable record, yet doesn’t contain Gaslight Anthem’s optimum material. It’s unquestionably worth checking out, but far from the breakthrough album that many expected from one of the biggest independent rock bands around. Perhaps in the future American Slang will be remembered as the band’s steppingstone to superstardom, though for now, fans ought to keep spinning The ’59 Sound instead.